CALISTHENIC 



EXERCISES* 81 MARCHES 



WITH 



Pleasing Drill Songs and Music 



rP.EP\RKI> BY 



FRANK L. BR I STOW, 

Musical Director of the Public Schools of Covington, Ky. 



CINCINNATI : 

Published by The JOHN \hURCH CO., 74 W. Fourth St 
CHICAGO : NEW YORK : 

ROOT & SONS MUSIC CO., THE J. CHURCH CO., 



200 WABASH AVENUE. 



13 E. 16TH STREET. 



Copyright, 1891, by Thk John Ciu;,kch Co. 



Price, 50 cents, 



LIBRARY OF CONGRESS, 



©ftap. - dnptfriglit fa. 

sheif .3 as 

UNITED STATES OF AMERICA. 



Calisthenic 

EXERCISES and MARCHES 



Pleasing Drill Songs and Music 



SUITABLE FOR 



cnools, Colleges, Private Entertainments, 



PUBLIC EXHIBITIONS. 



PREPARED BY 

FRANK L. BRISTOW, 

Musical Director of the Public Schools of Covington, Ky. 



CINCINNATI : 

Published by The JOHN CHURCH CO., 74 W. Fourth St. 
CHICAGO : NEW YORK : 

ROOT & SONS MUSIC CO., THE J. CHURCH CO. 

200 WABASH AVENUE. 13 E. 16TH STREET. 



Copyright. 1891, by The John Church Co. 



INTRODUCTION. 



For many years the author has successfully taught the simple sys- 
tem of Calisthenics herein contained. In compliance with the numer- 
ous requests of former pupils who have become Instructors, and are 
"desirous ofteaehing the Exercises, with the original musical accompaniments 
that made them so pretty and pleasing in days gone by," this book is pub- 
lished and respectfully dedicated to them and those Teachers who strive 
to lighten the labors of learning by ever cultivating the taste for the 
New and the Beautiful. 

It has been a " labor of love " to live over again the past in writing 
these pages, and they are presented to the public, believing that they 
will be appreciated as much for their usefulness as for the pleasure they 
may bring to one and all. 

FRANK L. BRISTOW. 

Covington, Ky. 



(2) 



Copyright, 1891, by the John Church Co. 



7842 



I 



CALISTHENIC EXERCISES. 



BY 



FRANK L. BRISTOW. 



The "Standing Places " for the pupils of a Calisthenic Class going 
through with their Exercises should be at least five feet apart. They 
can be very easily represented upon the floor of the Hall by drawing 
chalk lines — lengthwise and crosswise — thirty inches apart, according 
to the following diagram : 



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I i 








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% — 






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1 — 


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1 


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H Q 3 
TRONT 



The numbered circles designate the places for the pupils to stand 
while exercising. 

This Diagram is drawn for a class of Twenty. There should al- 
ways be an equal number of pupils in the class, and the floor should 
be marked accordingly. For a class of Ten use one-half of the above 
diagram, that is, the rectangle A, E, H, D. For a class of Eight use 
the same, omitting the last two standing places in the Rear. For a 
smaller class than Eight omit the other necessary standing places in 
the Rear ! The most available number for a Calisthenic Class is 
Thirty-two ; because that number of pupils can execute more beautiful 
and intricate marches, by being divided into two columns of 16 each, 
and four columns of 8 each, &c. 

First arrange the pupils according to size, the smallest pupil to 
be Number i, the next No. 2, &c. Have them stand erect, with their 

(5) 



6 



CAUSTHENIC EXERCISES. 



" shoulders well back," arms down, with the palms of the hand next 
to the body, in a graceful, easy manner; the heels of the feet close 
together, with the "toes turned out" at about an angle of 75 , and 
body firmly balanced on the soles of the feet. 

Before taking their respective standing places as marked on the 
diagram, at the word of command — "Form Class ! " — the pupils 
assemble in the Rear of the room, behind the standing places, and face 
to the front ; the smallest pupil on the extreme Left, and the tallest on 
the extreme Right* They should stand far enough apart so as not to 
touch elbows ! Should there be a larger number of pupils than can 
conveniently occupy the space in the rear of the diagram without 
crowding, have an equal number of pupils stand upon the Right and 
Left, facing eaeh other ! The class will then form three sides of a rect- 
angle — thus : 




the stars indicating the position and number of each pupil. 

When the class is thus formed, the Instructor gives the command 
"Attention!" and each pupil takes the correct position as directed 

above ! 

At the command "Number!" the class numbers from the Left 
to the Right — " 1, 2, 3, 4, 5, 6," &c. At the command "Number in 
Twos ! " they count off, " 1, 2 — 1, 2 — 1, 2," &c, beginning with the small- 
est pupil and ending with the largest or last pupil in the class. Numbers 
1 and 2 are "partners" when marching in Double Columns. It will 
also be necessary to " Number in Fours " as well as in " Twos," that 
each pupil may be perfectly certain of his or her place in the Marching 
Exercises, as well as to enable each one to know his or her " Standing 
Place!" After numbering, the command is given, " Faces — Left J " at 
which each pupil, simultaneously with the others, turns upon the heel 
of the left foot in the direction of his or her left side, raising the right 
foot very slightly from the floor in order to execute the movement 
correctly, and bringing it down to the proper position, with "heels 
together and toes out," when the movement is finished. At the same 

7 842 



CALISTHENIC EXERCISES. 



7 



moment this command is executed, each pupil brings the hands to the 
waist, with the thumbs in front of the body, and the fingers at the baek, firmly 
pressing against the two sides of the spinal column ! This method of plac- 
ing the hands, for support while marching, is far more natural and bet- 
ter than "he old method of placing the fingers of the hand in front of the 
body, and the thumbs at the back. 

The Instructor then counts — "One, two; One — March!" — in 
regular " Marching Time," with a slight emphasis upon the first count; 
and after the command " March ! " each pupil steps off with the Left 
foot and begins the "march to the standing peaces" as follows — 
the arrow heads indicating the line of march : 



1F /4 



11 



fr 70 



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fix t 



17 



\^-g *u ^~ 



t iu. 

t ct 




- <~o< — <-o — <-0- 

— > / > f y y 2 - y — ^ 



It will be seen that the class, led by the smallest pupil, first marches 
down to the Front, over standing places 4, 3, 2, 1 ; then back to the 
Rear ; then to the Left, behind the last four standing places ; then, 
turning to the Right, march over the standing places 20, 19, 18, 17; 
turning again to the Left, marches between the standing places ; then 
to the Right, over the standing places 16, 15, 14, 13; then to the Left, 
between; then to the Right, over 12, 11, 10, 9; then between; then over 
8, 7, 6, 5 ; then between; then over 4, 3, 2, 1 — each pupil stopping still 
the moment he or she reaches the standing place corresponding to his 
or her number in the line of march ; so that pupil No. 20 will be the 
first to stop at Standing Place No. 20, and pupil No. 1 will be the last to 
reach Standing Place No. 1. 

At the commencement of the march it will be seen that the entire 
class have to march over standing places 4, 3, 2, 1, without any one of 
them stopping. As each pupil arrives at the proper standing place, he 
or she stops perfectly still, facing to the Right, with hands at the waist, 
heels together and toes out, until the last pupil, No. 1, arrives at stand- 

7842 



8 



CALISTHENIC EXERCISES. 



ing place No. i. Then, at the command Front!" all turn simulta- 
neously to the Front (Left), facing the Instructor, whose position is 
always about five feet in the Front Center of the diagram. As the class 
executes this last command " Front ! " they bring their hands to their 
sides, palms next to their bodies, as they stood when Forming the Class. 

The class being now in position to receive instruction, the Teacher 
may proceed with the following Preliminary Exercises, giving the com- 
mands, and then executing them at the same time with the pupils, that 
they may be properly done : 



(2 

(3 
(4 
(5 
(6 
(7 
(8 
(9 
(io 
(II 

(12 

(i3 
(14 



Fold — your arms ! " 

Clasp — your hands!" (Fingers interlaced, hands in front.) 

Hands — on your heads ! " (Fingers still interlaced.) 

Count— Bight ! " (i, 2, 3, 4, 5, 6, 7, 8.) 

Count— back ! " (8, 7, 6, 5, 4, 3, 2, 1.) 

Sing — the Scale ! " (Do, re, mi, fa, sol, la, si, do.) 

Descend ! " (Do, si, la, sol, fa, mi, re, do.) 

Sing — Ah ! " (Ah, ah, ah, ah, ah, ah, ah, ah !) 

Descend ! " (ah, ah, ah, ah, ah, ah, ah, Ah !) 

Sing — Oh ! " (Oh, o, o, o, o, o, o, oh !) 

Descend ! " (oh, o, o, o, o, o, o, Oh !) 

Sing — Ha ! " (Ha, ha, ha, ha, ha, ha, ha, ha !) 

Sing — Ho ! " (Ho, ho, ho, ho, ho, ho, ho, ho !) 

Count— Eight again ! " (1, 2, 3, 4, 5, 6, 7, 8.) &c, &c. 



These exercises, and others similar to them, should be thoroughly 
practiced in concert until they can be executed with ease and precision 
by each and every member of the class. Especially should they be 
thoroughly drilled in " Counting Eight together in exact time,'" as all Calis- 
thenic exercises depend upon their ability to do this aright. The nec- 
essary music for these exercises being divided into phrases of four ac- 
cented and four unaccented heats, eight beats to each phrase, each pupil 
will more readily " follow the music " after learning this all-important 
" Counting Eight" — always remembering to emphasize the odd counts, i, 
3, 5, 7, and not to emphasize the even counts, 2, 4, 6, 8. 

The following is the order of Free-Hand Calisthenic Exer- 
cises taught in this Book: 

1 st. Finger Exercises— 4 Positions. 

2nd. Hand and Wrist Exercises — 4 Positions. 

3rd. Fore-Arm Exercises — 4 Positions. 

4th. Full-Arm Exercises — 4 Positions. 

5th. Head and Shoulders Exercises — 2 Positions each. 

6th. Feet and Legs Exercises — 2 Positions each. 

7842 



CALISTHKNIC EXERCISES. 



9 



Only one SERIES of Movements is employed at first in our sys- 
tem of Free-hand Exercises, as follows : 

1. Eight Movements with a Right Member. 

2. Eight Movements with a Left Member. 

3. Four with a Right Member, then Four with a Left. 

4. Eight Movements with both Right and Left Members. 

For each Exercise, therefore, the pupil will have to " count Eight" 
four times for the movements from each position. There being Four 
positions, each exercise consists of one hundred and twenty -eight move- 
ments ; after executing which the members of the class should be 
allowed a " Rest at Ease " for at least three minutes before attempting 
other Exercises. 



I. FINGER EXERCISES. 

The class having marched to their standing places, the order 
" Faces Front!" having been obeyed, the Instructor commands: 
"Attention! Finger Exercises! First — Position!" At the 
last word, "Position," the fingers of both hands are closed tightly 
together, arms down by the sides of the body, the ball of the thumbs 
pressing against the middle joint of the second fingers, similar to 
"making a fist" for striking. The Instructor then commands, "All — 
count ! " the two words being spoken in the exact time that he wishes 
the movements to be executed, the pupils immediately counting Eight 
aloud as regularly as the "ticking of a clock." At the odd counts the 
fingers of the right hand are opened quickly and separated from each 
other as far as possible, and at the even counts, 2, 4, 6, 8, they are closed 
again firmly as before. 

Eight movements are then similarly made by the fingers of the Left 
hand, opening them at the odd counts, and closing them at the even 
counts. Then Four movements are made in the same way by the fin- 
gers of the Right hand, and Four by the fingers of the Left hand. Then 
Eight movements with the fingers of both hands simultaneously. At the 
last count (8) of the simultaneous movement with the fingers of both 
hands, the pupils take the Second Position, extending both arms in 
front of the body straight and parallel with each other, fingers closed, 
knuckles uppermost, with the body erect and "shoulders well back." 
From the Second Position, Eight movements (opening and closing 
the fingers) are made with the fingers of the Right Hand, then Eight 

7842 



IO 



CALJSTHENIC EXERCISES. 



movements with those of the Left Hand. Then Four with the Right, 
and Four with the Left, then Eight with both simultaneously; and at the 
last count (8) the Third Position is taken by extending the arms 
straight out from the body at the sides, on a straight line with the 
shoulders, the fingers being closed the same as in the First and Sec- 
ond positions, knuckles uppermost. From the Third Position, Eight 
movements (opening and closing the fingers) are made with the fin- 
gers of the Right hand, Eight with those of the Left hand; Four with the 
Right, Four with the Left, then Eight simultaneous movements with 
both ; at the last count (8) the Fourth Position being taken. In the 
Fourth Position the arms are extended above the head in straight 
and parallel lines with each other, the fingers being closed, knuckles 
pointing to the rear of the body. Eight movements (opening and clos- 
ing the fingers) are made with the fingers of the Right hand, Eight with 
those of the Left hand; Four with the Right, Four with the Left, then 
Eight with Right and Left simultaneously. At the last count (8) bring 
the arms to the sides of the body in the same position they were in 
before commencing the Exercise. 

This closes the Finger Exercises, in which the fingers, from 
Four Different Positions of the Arms, make the following move- 
ments : 

1. Eight movements with the Right hand. 

2. Eight movements with the Left hand. 

3. Four with the Right, Four with the Left. 

4. Eight with the Right and Left simultaneously. 

MUSIC FOR THE FINGER EXERCISES. 

While marching to the standing positions play March No. i. 
The first measure of this piece should give the exact time for marching, 
preparatory to the pupils stepping off with the Left foot at the com- 
mencement of the second measure. Instead of the Instructor giving 
the commands, they may be given upon the piano, as follows : 

" Faces — Left ! " 

7842 



CAUSTHENIC EXERCISES. 



m 



I, 



i — March ! 



Play and repeat the first two strains of No. i until almost the en- 
tire class are in their standing places ; then play the last part marked 
"Trio," and, at its last measure, "Faces — Front" {Left). 

By careful practice the marching can be so "timed" that the last 
pupil to reach his or her standing place (No. i) will do so at the first 
count of the last measure of the Trio, so that all will "Faces Front" 
(Left) as the music plays: 



3, 



" Faces — Front ! " 

After "Faces — Front {Left) " the Instructor counts " i, 2, 3, 4! " to 
give the exact time for the " Finger Exercises," or the following chords 
may be played upon the piano : 




4. 



ff 



1 1 



Immediately after which the first movement of the Finger Exercises 
begins with the first note of Music No. 2. 

The " Finger Exercises," from the four different positions, are per- 
formed in exact time with the music from the beginning to the close 
of the same. The class may sing the words to the last strain of the 
music while they are exercising from the Fourth Position (arms ex- 
tended overhead) ; or, if preferred, the music alone may be played 
upon the piano. When there are a sufficient number of pupils to form 

7842 



12 



CAUSTHENIC EXERCISES. 



two classes, the class that is not exercising may sing the song " Twin- 
kle, Twinkle, Little Star ! " while the class upon the floor is exercising 
from Position No. 4. 

At the close of this Exercise the command is given or played — 



The hands are promptly brought to the waist at this command, 
and then immediately after the one measure introduction (" 1, 2, 3 — 
March ! ") of the music, No. 1, the class step off with the left foot and 
execute the following march. 



The first row of pupils (Nos. 1, 2, 3 and 4) begin the march, while 
the remainder of the class "mark time" to the music. Pupil No. 1 — 
being the leader, and followed by Nos. 2, 3 and 4 — after taking two short 
steps in a forward direction, turns squarely to the right, marches in a 
direct line to the rear of the hall ; turns again to the right , marches in 
a direct line across the hall ; turns to the right (front), marches in a 
direct line to the front; turns to the right, and then marches across 
standing places 4, 3, 2, 1, as represented by the following diagram 



5. 




Faces — Right ! 



MARCH. 



(No. 1) : 



Diagram No. 1. 





O 




, i 



7842 



CAEISTHENIC EXERCISES. 



13 



As soon as pupil No. 4 reaches the second line of the standing 
places, pupil No. 5, followed by Nos. 6, 7 and 8, begin to march, " fall- 
ing in" behind No. 4; and as soon as No. 8 reaches the third line of 
standing places, No. 9, followed by 10, 11 and 12, fall in; and so on 
until all are marching in single column, No. 1 leading the march. 

It will be readily seen from the diagram No. 1 that the first figure 
formed by the class in marching is that of a square or parallelogram. 
This figure must be formed perfectly by " turning the corners " squarely, 
and not bending out of a straight line. Continue the march until the 
figure has been formed twice. ; then march to the rear center of the 
hall, and come down the center in two parallel lines of march, all the 
No. i's on the right, and the No. 2's on the left — thus : 



* I 

T^c^t. \ ^ U FT 
3> ^^TROHT - * 



(It must be remembered that Nos. 1 and 2 are partners when march- 
ing in double column ; and also that all the odd numbers of the single 
line of march come down the center on the right, and all the even num- 
bers on the left of the two parallel lines.) 

The moment each pupil reaches the rear center and turns to come 
down in twos the hands are promptly brought from the waists to the 
sides of the body. They are again brought to the waists with precision 
at the moment each one reaches the front center and turns to the right 
or left. 

When the double column comes down the center to the front the 
partners separate, the Nos. 1 turning to the right, and Nos. 2 to the left, 
each column then marching in the form of a separate square or paral- 
lelogram — thus: 



i 4 



CALISTHENIC EXERCISES. 



Diagram No. 2. 



7 7 7 7/ 




The march is continued until these figures are formed Twice; 
after which a "Cross" is formed twice — the first time thus: 



Diagram No. 3. 

A 



' .x E 



(At the point marked E, the center of the square, No. i invariably 
steps in front of No. 2 ; and this must be done without stepping out of 
line of the diagonals. Very short steps must be taken while forming 
these diagonals ; but upon arriving at the center, E, take one long step, 
bringing the arms down to the sides for the moment that long step is 
taken ; then immediately bring the hands to the waists again, taking 
very short steps until the L,eaders arrive at C and D, when the usual 
step is resumed.) 

5842 



CAEISTHENIC EXERCISES. 



The "Cross" is formed the second time thus: 



Diagram No. 4. 




Diagram No. 5. 

In forming the first 
cross (Diagram No. 3) the 
Leader of the Nos. 1 be- 
gins the march across the 
diagonal line A C the mo- 
ment he or she arrives at 
the point A. At the same 
moment the Leader of the 
Nos. 2 begins the march 
across the diagonal line 
B D from the point B. In 
forming the second cross 
the 2's form the diagonal 
A C, beginning from the 
point A, and at the same 
time the i's form the di- 
agonal B D from the point 
B. After forming the cross 
thus Twice the two lines 
march to the rear center, 
coming down the center 
in a single column, as in the annexed diagram. 

7842 




l6 CALJSTHENIC EXERCISES. 

After which the march ends with the " Spiral" — formed thus: 



Diagram No. 6, 




After the class has thoroughly learned the Finger Exercises and its 
accompanying March, it will be an easy matter to teach them the other 
Exercises and Marches. We have therefore given minute instructions 
concerning this First Exercise, not only for the benefit of pupils, but 
also for the benefit of those desiring to become Calisthenic Teachers. 



II. HAND AND WRIST EXERCISES. 

FOUR POSITIONS. 

1st Position. — Arms at the sides of the body, palms of the hands barely 
touching the dress, fingers and thumbs closed, with tips pointing, 
in a straight line with the arms, down towards the floor. 

2nd Position. — Arms extended straight out in front of the body in paral- 
lel lines with each other, palms of the hands down, fingers and 
thumbs closed as in ist Position. 

7842 



CALISTHENIC EXERCISES. 



17 



3rd Position. — Arms extended right and left in a straight line from the 
shoulders, parallel with the floor ; palms down, fingers and thumbs 
as in 1 st Position. 

4th Position. — Arms extended above the head, parallel with each other 
and in a straight line, with the body erect ; palms to the front, fin- 
gers and thumbs as in 1st Position, with the tips pointing to the 
ceiling of the hall. 

MOVEMENTS. 

Without moving the arms in the least, raise the whole hand as 
high as possible from the wrist joint at the odd counts (1, 3, 5, 7). At 
the even counts bring the whole hand back with precision to the com- 
mencing position of the movement. When properly executed, the back 
of the hand will form a right angle (or nearly so) with the arm at the 
wrist joint. 

ORDER OF MOVEMENTS FROM EACH OF THE FOUR POSITIONS. 

i st. Eight movements with the Right hand alone. 
2nd. Eight movements with the Left hand alone. 
3rd. Four movements with the Right, and Four with the Left. 
4th. Eight movements with both Right and Left hands simulta- 
neously. 

The music for this Exercise is the same as that for the Finger Ex- 
ercises — No. 2. At the last strain of the music, marked " Trio/' the 
accompanist may play the notes of the song as written, without the 
class singing. But if a song is preferred, use the following words 
instead of "Twinkle, Twinkle," &c. 

SONG: "TWENTY FROGGIES." 

" Twenty Froggies went to school 
Down beside a rushy pool ; 
Twenty little coats of green, 
Twenty vests all white and clean. 
' We must be in time,' said they. 
' First we study, then we play : 
That is how we keep the rule 
When we Froggies go to school.' " 

After which, "Faces Right," march, and form the following figures, 
always rembering that the figure of each diagram is formed twice. (Great 
care should be taken to select as Leaders (Nos. 1 and 2) not only the 

7 8i2 



i8 



CAUSTHENIC EXERCISES. 



smallest children, but also if possible, the smartest, as in most of the 
marches the remainder of the class have nothing to do but "follow 
their leader.") 




After forming figure 4 second time, the two leaders will meet to- 
gether in the front center, when the class will march off the floor in 
double column, thus closing the march and 2nd Exercise. 



III. FORE-ARM EXERCISES. 

1st Position. — Palms of hands open, fingers and thumbs close together, 

tips of the fingers of each hand underneath the arm pits, and the 

elbows raised nearly on a line with shoulders. 
2nd Position. — Palms open (fingers and thumbs still closed) and placed 

upon the center of the chest, with the tips of the middle fingers 

touching ; elbows on a line with the shoulders. 
3rd Position. — Palms open (as in 1st and 2nd Positions) and placed 

upon the shoulders, with the tips of the fingers touching the root 

of the neck on either side. 

7842 



CAI.ISTHENIC EXERCISES. 



19 



4th Position. — Palms open (as before) and placed upon the top of the 
head, the tips of the middle fingers touching each other ; the body 
in every position erect, the heels touching, and the toes equally 
turned out. 

MOVEMENTS. 

These are invariably made from each of the four positions by keep- 
ing the upper part of the arm perfectly at rest in its position, and then 
with some force and precision moving the fore-arm in a line with it, so 
that the whole arm will be straight and extended. This is the 1st move- 
ment, and is made at the odd counts 1, 3, 5, 7. At the even eounts 2, 4, 
6, 8, the fore-arm is brought back promptly into position again. From 
each of the four positions these movements are made as follows : 

1 st. Eight with the Right arm. 

2nd. Eight with the Left arm. 

3rd. Four with the Right, and Four with the Left. 

4th. Eight with the Right and Left simultaneously. 

After the Fore-Arm Exercise perform the march according to the 
following diagrams : 




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20 



CAUSTHENIC EXERCISES. 



Marching off the floor after forming the " Double Spiral " — represented 
by No. 4. 

MUSIC FOR FORE-ARM EXERCISES. 

Play No. 2, and when the 4th Position is taken sing the following 
words to the song marked " Trio " : 

" Dream not in the light of day; 
Not a task or duty shirk, 
But with speed perform your work, 
Then enjoy" the time for play." 

" Move whate'er impedes your way ; 
Not a thing forget nor slight ; 
What you do, pray do it right, 
So be happy all the day." 

While executing the march play Music No. 1. 



IV. FULL-ARM EXERCISES. 

1st Position. — Arms down by the sides of the body, palms of the hands 

open and touching the dress. 
2nd Position. — Arms extended directly in front of the body, palms of 

hands open and touching each other. 
3rd Position. — Same as 2d Position, as two different movements are 

made from that position. 
4th Position. — Arms extended at full length over the head, palms of the 
• hands touching each other. 

MOVEMENTS. 

From ist Position. — The full arm is kept straight, without bend- 
ing the elbow in the least, and then raised on a straight line with the 
shoulders at the odd counts 1, 3, 5, 7, and at the even counts 2, 4, 6, 8, 
brought back into commencing position. 

From 2nd Position. — The full arm is brought down from front of 
body to the sides. As this movement is being performed the arm is 
gradually turned so that when the hand reaches the sides of the dress 
the palm will be presented to the front, the little finger touching the 
sides. This movement is made promptly at the odd counts 1, 3, 5, 7. At 
the even counts 2, 4, 6, 8, the arm is brought up into position again, strik- 
ing one palm of the hand against the other. 

7842 



CALISTHKNIC EXERCISES. 



21 



From 3RD Position (which is the same as the 2nd). — The full 
arm is extended on a direct line with the shoulders, and parallel with 
the floor, at the odd counts 1, 3, 5, 7. At the even counts 2, 4, 6, 8, the 
full arm is returned again to front position, the palms of the hands 
meeting and being struck together with considerable force. 

From 4TH Position. — The full arm is brought down from over the 
head to a position behind the body as far as possible at the odd counts. At 
the even counts it is brought again to position over the head, palms meet- 
ing and being struck together. In the last movement from this posi- 
tion the palms of both hands are struck together behind the bae% at odd 
counts, and over the head at even counts. 

These movements are made from each of the four positions in the 
following order : 

1 st. Eight with the Right arm. 

2nd. Eight with the Left arm. 

3rd. Four with the Right, and Four with the Left. 

4th. Eight with both simultaneously. 



MARCH — 
AFTER FUU,-ARM EXERCISES. 




7842 



22 



CAUSTHENIC EXERCISES. 



To form Diagram 3 there must be represented by the marching 
columns Four Squares. To do this — after the two separate columns 
(Nos. 1 and 2) have formed Diagram No. 2 twice, and as they come 
down the center in twos the third time — upon reaching the center of 
the floor, E, the regular leaders of the two lines continue their march 
down the center to the front, while the pupil immediately behind each of 
the leaders turns to the right or left upon arriving at the center, B. 
The next pupil of each line comes down the center to the front, follow- 
ing their respective leaders. The next pupil of each line turns to the 
right or left, following the first one that turned in that direction. The 
next one comes down the center, the next one turns to the right or left, 
and so on until there are four marching columns. 

The first pupil of either line who turns to the right or left at the 
center, K, becomes the leader of all those that turn in those directions. 
The one who turns to the right leads the column in forming the small 
square marked 1, the one turning to the left leads the column in form- 
ing the small square marked 2, while the small squares 3 and 4 are 
formed respectively by the two regular leaders of the double line of 
march. After forming the four small squares, the four marching col- 
umns form the four triangles 1, 2, 3, 4, as marked in Diagram 4; after 
which the regular leaders come down from the center, E, upon again 
arriving at that point, and march off the floor in double column, fol- 
lowed by the class, each member at E falling into his or her regular 
marching position. 

MUSIC FOR FULL-ARM EXERCISES. 

Play No. 2 for the Exercises, and sing the following verses for the 
Song (Trio) : 

" Pretty Peter Pimpernel picked a pickled pepper-pod ; 
Put a pup upon a pole. Papa, please prepare a prod." 
" Peter Piper, pumpkin eater, 
Had a wife, and could'nt keep 'er ; 
Put her in a pumpkin shell : 
There he kept her very well." 

For the March, play No. 1. 



V. HEAD AND SHOULDERS EXERCISES. 

1st Position. — Body erect, shoulders well back, face to the front, and 

arms hanging down loosely by the sides of the body. 
2d Position. — Exactly the same as 1st Position. 

7842 



CALISTHENIC EXERCISES. 23. 



MOVEMENTS. 

Keep the other parts of the body at rest in position while the head 
is moved squarely to the Right, Front and Left as follows, for the First 
Movements : 

FIRST. 

12 34 56 7 8 

Right — Front; Right — Front; Right — Front; Right — Front. 



SECOND. 

12 3 4 5 6 

Left — Front; Left — Front; Left — Front, 



Left — Front. 



THIRD. 

12 3 4 5 6 7 8 

Right — Front ; Right — Fro?it ; Left — Front ; Left — Front. 



FOURTH. 

1 2 3 4 56 

Right— Left; Right— Left; Right— Left . 



Right — Front. 



For the Second Movements from this same position the head is moved 
only (while the body is at rest in position) : first downward until the 
chin rests upon the breast, then backwards as far as possible until the 
line of vision is perpendicular with the ceiling of the room. 



FIRST. 

12 3 4 5 6 

Down — Front; Down — Front; Down — Front 



Down — Front. 



Back — Front ; 



SECOND. 
3 4 5 6 

Back — Front ; Back — Front ; 



Back — Front. 



Down — Front 



THIRD. 

3 4 5 6 

Down — Front : Back — Front 



Back — Front. 



FOURTH. 

1 2 3 4 56 

Down — Back ; Down — Back ; Down — Back ; 

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Down — Front. 



24 CALISTHENIC KXERCISKS. 

SHOULDER EXERCISES. 

1st Position. — Body erect, face to the front, with arms hanging loosely 
to the sides. 

2nd Position. — Exactly the same as the ist Position. 



MOVEMENTS. 

From ist Position. — With all the other parts of the body at rest 
in position, move each shoulder back to the rear as far as possible, and 
then bring it forward into position at the proper time, as follows : 

FIRST. 
RIGHT SHOULDER. 

12 3 4 5 6 78 

JBack— Front ; Back — Front; Back — Front-. Back — Front. 



SKCOND. 

LEFT SHOULDER. 

1 2 3 4 5 6 78 

Back — Front; Back — Front; Back — Front; Back — Front. 



THIRD. 

RIGHT SHOULDER. j LEFT SHOULDER. 

1 2 3 4 5 6 78 

Back — Front; Back — Front; Back — Front; Back — Front. 



FOURTH. 
BOTH SHOULDERS. 

12 3 4 5 6 7 8 

Back — Front; Back — Front; Back — Front; Back — Front. 

From Second Position (same as ist) raise the shoulders as high as 
possible (without moving the head) perpendicularly, and then let it 
fall promptly into position at the proper time, thus : 

FIRST. 

RIGHT SHOULDER. 



1 2 3 4 5 6 7 8 

Up — Down; Up — Down; Up — Down; Up — Down. 



CAUSTHENIC EXERCISES. 



25 



Up — Down ; 



SECOND. 
LEFT SHOULDER. 

3 4 5 6 

Up — Down ; Up — Down 



7 8 

Up — Down. 



THIRD. 



RIGHT SHOULDER. 



I 2 

Up — Down ; 



3 4 
Up — Down. 



LEFT SHOULDER. 



5 6 
Up — Down ; 



Up — Down. 



1 2 

Up — Down ; 



FOURTH. 

BOTH SHOULDERS. 



3 4 
Up — Down ; 



5 6 
Up — Down 



7 8 
Up — Down. 



At the conclusion of these two exercises the following march may 
be executed: 



A 



1 f 

1 



TWICE 



A 



t 

1 
1 
» 



Twice: 
V V 



t 

1 




B 



. CO"* 



X N f 



t 

c 



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26 » 



CALISTHKNIC EXERCISES. 



Diagram 3 of this March is formed by four separate marching 
columns, representing four spirals, in the same way that Diagram 3 
of the march for the Full-arm Exercises was formed to represent four 
squares. After having formed the spirals, the leaders of the four 
columns meet at the center, E, fall into their regular positions as part- 
ners, march up the center to the rear, where the column led by No. 1 turns 
to the left, and the column led by No. 2 turns to the right, and form 
the crescent, as represented by Diagram 4, all facing to the front. 
After taking the positions as indicated by the figures in Diagram 4, 
the Head and Shoulders Exercises may be repeated, after which the 
class may be dismissed. 

MUSIC. 

Play No. 2 while going through with these Exercises, and sing the 
following verse for the Song : 

" When good humor flies away, 
Then comes care and sadness, 
Quickly sing a cheerful lay, 
All will soon be gladness. 
Music cheers the darkest hours, 
Peace and comfort bringing ; 
What the dew is to the flow'rs, 
To the soul is singing." 

Play No. 1 while the class is marching. 



VI. FOOT AND LEG EXERCISES. 

FOOT. 

1st Position. — Body erect, face to the front, hands at the waist, with the 
thumbs in front of body ; heels together, and toes turned out at an 
angle of about 75 °. 

2nd Position. — Exactly same as 1st Position. 

EEG. 

3rd Position. — Exactly same as 1st Position. 
4th Position. — Exactly same as 1st Position. 

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CAUSTHENIC EXERCISES. 



27 



MOVEMENTS. 

From 1 st Position movements are made with the right and left 
feet, at the proper time, by bringing the toes together, one foot re- 
maining stationary in position while the other is being moved by turn- 
ing it upon the heel ; the toe of the Right foot being turned to the Left, 
and the toe of the Left foot being turned to the Right, and then being 
brought baek into position again. 



FIRST. 

RIGHT FOOT. 

1 2 3 4 5 6 7 8 

Left— Back ; Left— Back ; Left— -Back ; Left— Back. 



SECOND. 
LEFT FOOT. 

1 2 3 4 5 6 78 

Right— Back; Right— Back; Right— Back ; Right— Back. 



THIRD. 



RIGHT FOOT. 



I 

Left- 



2 

■Back 



3 4 
Left— Back. 



LEFT FOOT. 
5 6. 78 

Right— Back ; Right— Back. 



RIGHT FOOT. 
I 2 

Left— Back. 



FOURTH. 
LEFT FOOT. 



3 4 

Right— Back. 



5 6 
Left — Back. 



RIGHT FOOT. 

7 8 
Right— Back. 



From the 2nd Position (which is the same as the 1st) the move- 
ments are made with the right and left feet, at the proper time, by 
moving the heels out and separating them, while the toes remain in 
position. The heel of the Right foot being turned out to the Right, the 
heel of the Left foot being turned out to the Left, and then brought 
hack into position again. 

FIRST. 



I 2 

Out— Back 



RIGHT FOOT. 

3 4 5 6 

Out— Back; Out— Back; 



7 8 

Out — Back. 



28 



CAUSTHENIC EXERCISES. 



I 2 

Out— Back; 



SECOND. 

LEFT FOOT. 

3 4 5 6 

Out— Back ; Out— Back ; 



7 8 
Out — Back. 



RIGHT FOOT. 



Out— Back; 



Out — Back. 



THIRD. 



LEFT FOOT. 

6 . 7 



Out — Back ; 



Out— Back. 



FOURTH. 



RIGHT FOOT. 
I 2 

Out— Back. 



LEFT FOOT. 

3 4 
Out — Back. 



RIGHT FOOT 

5 6 
Out— Back. 



LEFT FOOT. 



Out— Back. 



(leg.) 

From the 3rd Position (which is the same as the 1st) the move- 
ments are made with the Right foot and leg, and with the Left foot and 
leg, at the proper time, by stepping forward about twenty inches on a 
line with the direction of the feet while in position, and then stepping 
back into position again ; the movements of the Right foot being to 
the Right, and those of the Left foot being to the Left. 



1 2 

Forward — Back 



FIRST. 

RIGHT FOOT AND LEG. 



3 

Forward- 



4 

-Back 



5 

Forward- 



6 

-Back ; 



Forward— Back. 



1 2 
Forward — Back ; 



SECOND. 

LEFT FOOT AND LEG. 



3 4 
Forward — Back ; 



Forward — Back 



7 8 
Forward — Back. 



THIRD. 



RIGHT FOOT AND LEG. 
12 34 

Forward — Back ; Forward — Back. 



LEFT FOOT AND LEG. 

5 6 7 8 

Forward — Back ; Forward — Back. 



84 2 



CAUSTHENIC EXERCISES. 



29 



FOURTH. 



RIGHT FOOT. 
I 2 

Forward — Back. 



LEFT FOOT. 

3 4 
Forward — Back. 



RIGHT FOOT. 

5 6 
Forward — Back. 



LEFT FOOT. 

7 8 
Forward — Back. 



From the 4th Position (still the same as the 1st) movements are 
made with the Right foot and leg and the Left foot and leg to the Rear 
of the body, on a line with the foot when in position, as far as possible, 
and then back into position again. 

FIRST. 

RIGHT FOOT. 

12 3 4 5 6 7 8 

Rear — Back; Rear — Back; Rear — Back; Rear — Back. 



SECOND. 

LEFT FOOT. 

12 3 4 5 6 7 8 

Rear — Back; Rear — Back; Rear — Back; Rear — Back. 



THIRD. 



RIGHT FOOT. 

I 2 3 

Rear — Back ; 



Rear — Back. 



LEFT FOOT. 

5 6 
Rear — Back ; 



7 8 
Rear — Back. 



FOURTH. 



RIGHT FOOT. 
I 2 

Rear — Back. 



LEFT FOOT. 

3 4 
Rear — Back. 



RIGHT FOOT. 

5 6 
Rear — Back. 



LEFT FOOT. 



Rear — Back. 



While executing the Foot and Leg Exercises play Music No. 3 
in moderately fast Polka time, marking well the rhythm. Then per- 
form the* following 

MARCH. 

(Instead of using the regular marching step, the "Polka Step " may 
be used in executing this march. It can easily be learned, thus : To 
each measure of the music count ''One and Two'' "One and Two," all 
through the piece. At the first count, " One/' step off with the Left 
foot; at the half count, "and," bring the toe of the Right foot to the heel 

7842 



3Q 



CALISTHENIC EXERCISES. 



of the Left; then at "Two" step off again with the Left foot. At the 
second count, "One/' step off with the Right foot, at "and," bringing the 
toe of the Left foot to the heel of the Right; then at " Two" step off 
again with the Right foot, and continue, alternating with the Left and 
Right foot at the first count in the measures. This is nothing but the 
forward "Polka step," and is sometimes called the "Change step" or 
" Half Skip.") 




To represent Diagram 3, the regular leaders of each line of march, 
No. 1 and No. 2, upon arrival at the Rear centers, stop still and face 
each other. The next two following pupils come down the center and 
take their positions by the side of the leaders, one on the right and 
the other on the left, and also face each other ; the next two come 
down the same way and take their places, and so on, until the whole 
class thus comes down in twos, and stand facing each other, the odd 
numbers being on the Right and the even numbers being on the Left. 
As soon as the lines are thus formed the two leaders join hands (the 
left hand of No. 1 holding the right hand of No. 2), and come down 
the center, followed in like manner by Nos. 3 and 4 and the remainder 
of the class, using the " Polka step." After Diagram 3 has been formed 

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CAUSTHENIC EXERCISES. 



Si 



twice, the lines come down the center in twos, separate again, march 
to the Rear, and instead of stopping pass each other, the Number Ones 
passing in front of the Number Twos and form the crescent of Dia- 
gram 4. Facing front and inward, each pupil crosses the right arm 
over the left, and all hands being joined together, the arms are raised 
over heads, when the last two movements of No. 6 (the Leg Exercises) 
are performed, after which the class is dismissed. 

If the class is unable to execute the "Polka step" easily and with 
grace, it may simply march to the Music No. 4; but, if possible, 
employ the " Polka step" all through the March, playing Music No. 3 
both while exercising and also while forming the figures. 



Figure 1. 




CALISTHENIC UNIFORM FOR YOUNG LADIES. 

A loose-fitting blouse-waist, with flowing sleeves, to be made of 
bright scarlet-colored flannel; a sleeveless Zouave Jacket, made of 
black merino, and trimmed with two rows of scarlet braid around the 
arm holes and edges ; dress skirt of black merino, trimmed with three 
rows of scarlet braid, the first row being about four inches from the 
bottom of the skirt, and the three rows being one inch apart. The 
skirt should be long enough to extend below the knees. The Turkish 
trousers may be worn over neat-fitting black hose, if preferred, or they 
may be omitted entire!}'. 



32 CAUSTHENIC EXERCISES. 



Figure 2. 




CAUSTHENIC UNIFORM FOR BOYS AND YOUNG MEN. 

When the class contains both Boys and Girls, make the Boys' 
jackets out of black flannel and trim them with scarlet braid, and their 
trousers out of scarlet flannel, to correspond with the Girls' uniform. 
When the class consists of Boys only, the entire suit may be made 
out of either black or navy-blue flannel, without any trimmings. 



OTHER SERIES OF MOVEMENTS. 

When the class has become thoroughly proficient in executing the 
First Series of Movements, that has been minutely described in 
all of the Free-Hand Calisthenic Exercises, either of the following 
different series may be employed as a pleasing change from the mo- 
notony of merely One Series. 



(I) 


I Right 


2 

P. 


(2) 


{Left 


2 

P. 


(3) 


{ Right 


2 

P. 



SECOND SERIES. 



3 


4 


5 


Right 


P. 


Right 


3 


4 


5 


Left 


P. 


Left 


3 


4 


5 


Right 


P. 
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Left 



6 


7 


8 


P. 


Right 


P. 


6 


7 


8 


P. 


Left 


P. 


6 


7 


8 


P. 


Left 


P. 



CALISTHENIC EXERCISES. 



33 



(12 3 4 5 6 7 8 
(4) ] f Right f P. { Right f P. I Right ( P. f Right P. 
( { X Left (P. \ Left [P. | Left | P. 

P means to recover " Position " again with the Right or L,eft mem- 
ber of the body after making the movements. The last movements (4) 
of the Second Series are made by commencing first with the Right 
member at the count 1 ; then at the count 2 the Right member re- 
gains " Position," at the same time the left member makes the move- 
ment in a contrary direction. This movement is called " Reciprocal," 
and is used instead of loth members making movements at the same 
count, as in First Series. 

third SERIES. 

4 5678 
P. Left P. L. P. 

4 5678 
P. R. P. L. P. 

4 5 6 78 

P. \ R. f P. ( R. P. 



(.)■] 


{ Right 


2 
p. 


3 

iv. 


(2) : 




2 

p. 


3 

L. 


(3) j 


it \ 


2 

[p. 

[L. 


3 


(4) < 


Ut ■ 


2 

IS 


3 

t 



L. 



4 5 6 78 

P. JR. J P. JR. (P. 

P. { L. { P. 1 L. 1 P. 



In the Third Series reciprocal movements are made at (3), and 
movements for both members at (4), as in First Series. 



FOURTH SERIES. 



« { Right 
< 2 > { Left 

I Right 
[Left 



(3) 
(4) 



2 


3 


4 


P. 


L. 


P. 


2 


3 


4 


P. 


R. 


P. 


2 


3 


4 


P. 


L. 


P. 


2 


3 


4 


P. 


R. 


P. 



5 


6 


7 


8 


R. 


P. 


L. 


P. 


5 


6 


7 


8 


L. 


P. 


R. 


P. 


5 


6 




8 


R. 




if: 


P. 




IE 






5 


6 




8 


R. 


P. 




P. 


L. 


P. 




P. 



In the Fourth Series the last half of the movements in (3) are 
reciprocal, and the last half of those in (4) are made by both members 
simultaneously. The four different series of movements may be em- 
ployed in exercising all members of the body that are twofold. The 
Head alone can not be exercised by any but the First Series. 

7842 



34 



CALISTHENIC EXERCISES. 



Calisthenic Exercises With Dumb-Bells. 



I. SINGLE-BELL EXERCISE. 

The class, having been formed for this exercise the same as in the 
Free-Hand Calisthenics, marches to the Standing Positions, as de- 
scribed upon page 7. The single bell is held in the Right hand and 
is brought to the Right waist, as is also the Left hand while marching. 
At the command " Front !" both hands are brought down to the side. 

1st Position. 
Fig. 3. 




The balls of the bell are grasped firmly by the right and left hands 
respectively, the bell being in front of the body, as shown in the above 
Figure 3. Then make the following 

MOVEMENTS 

from commencing position to to the points marked A and B : 

8 
P. 
P. 
P. 

2nd Position. 

7842 



I 


2 


3 


4 


5 


6 


7 


(1) Right 


P. 


R. 


P. 


R. 


P. 


R. 


(2) Left 


P. 


L. 


P. 


L. 


P. 


L. 


(3) Right 


P. 


R. 


P. 


Left 


P. 


L. 


(4) Right 


L. 


R. 


L. 


R. 


L. 


R. 



CALISTHKNIC EXERCISES. 



35 



(The last movements (4) from the first position are made first, 
right, in the direction of the dotted line towards A at the odd counts, 
x > 3> 5> 7 > then left towards B at the even counts, 2, 4, 6, 8.) 

2nd Position. 



Fig. 4. 




The ends of the balls of the bell being still held in the palms of 
the hands respectively, the arms are extended as far as possible directly 
in front of the body, as in Fig. 4. 

MOVEMENTS. 

The bell is brought into a perpendicular position in front of the 
body, first by bringing the right hand down while the left hand is kept 
as nearly in position as possible, at the odd counts, 1,3, 5, 7, and then 
regaining position with both hands at the even counts, 2, 4, 6, 8. Sim- 
ilar movements are then made by bringing the left hand down at the 
odd counts and regaining position at the even counts, employing the 
First Series, thus : 





I 


2 


3 


4 


5 


6 


7 


8 


(0 


(R. H.) Down 


Up 


D. 


U. 


D. 


U. 


D. 


U. 


(2) 


(L. H.) Down 


Up 


D. 


U. 


D. 


U. 


D. 


u. 


(3) 


(R. H.) Down 


Up 


D. 


u.. 


(L.H.) D. 


U. 


D. 


u. 



ALTERNATE. 

v f (R. H.) Down j Up j D. f U ( D. f U. ( D. f , p . 
(4) 1 (L. H.) Up j Down { U. { D. | U. | D. j U. \ 3 rd Pos - 

7842 



36 



CAUSTHENIC EXERCISES. 



3rd Position. 
Fig. 5. 




The ends of the bell being still in the palms of the hands, it is 
raised to a position upon the chest as high as possible, the points of 
the elbows being above the shoulders, as in Fig. 5. 



THE MOVEMENTS 



from this position are made first down to the 1st Position, Fig. 3, then 
recovering Position again, and second out to 2nd Position, Fig. 4, and 
again recovering Position as follows : 



I 


2 


3 


4 


5 


6 


7 


(1) Down 


P. 


D. 


P. 


D. 


P 


D. 


(2) Out 


P. 


Out 


P. 


Out 


P. 


Out 


(3) Down 


P. 


D. 


P. 


Out 


P. 


Out 


(4) Down 


P. 


Out 


P. 


Down 


P. 


Out 



8 
P. 
P. 
P. 

4th Position. 



(These movements from the 3rd Position must be made with con- 
siderable force in bringing the arms quickly down to the 1st Position 
and out into the 2d Position.) 

7842 



i 



CALISTHENIC EXERCISES. 



37 



4th Position. 
Fig. 6. 




In the 4th Position the bell is extended directly over head as high 
as possible, the arms straight, and the ends of the bell in the palms 
of the hands. 

THE MOVEMENTS 

are first made to the front, bringing the bell promptly to the 3rd Posi- 
tion, then over head again into position ; and second, the bell is brought 
down from over head to a position back behind the head and neck until it 
rests upon the shoulders, and then over head into position again — thus : 



M | Front — 
w (Down Up 

/ >, ( Back — 
w (Down Up 

M l Front — 
(Down Up 

, x J Front — 
w (Down Up 



3 

D. 
D. 
D. 



4 

U. 
U. 

u. 



Back 

Down Up. 

7842 



5 

D. 

D, 



6 

U. 
U. 



j Back— 

( Down Up 

Front 

Down Up 



D. U. 



D. U. 



D. U. 

Back 

Down Up 



38 



CAEISTHENIC EXERCISES. 



MARCH 

AFTER THE SINGEE-BEEL EXERCISE. 




3' 



1.0 ; 2 

3 O 0*4 

5 6 

Z_0 Os 

Twice 

9 o O 10 

11 O 12 

13 o 14 

15 o Q 16 

- . 17. O 0-18 - 

. . J9 -O Q2J>-. 



.-J 

C 




EXPLANATION. 

First form figure i twice by marching in a single column twice 
around the square A B C D. Upon reaching the point D the third 
time, form into two columns, the odd numbers inside, the even numbers 
on the outside ; then form the double square (2) twice. Then when 
the leaders of the double column have reached the back center the 
third time, they stop at the circles marked 1 and 2 in figure 3, while 
the other pupils march down the center and take their places as desig- 
nated in the diagram. Then the leaders come down the center, the 
others falling in in regular order behind them in two columns. Upon 
reaching the front center the leaders separate (No. 1 turning to the 

7842 



CAUSTHEXIC EXERCISES. 



39 



Right, No. 2 to the left), and followed by their respective columns they 
again form figure 3, all stopping at their designated places as num- 
bered. Then figure 4 is formed thus: Nos. 3, 7, 11, 15 and 19 on one 
side, and Nos. 4, 8, 12, 16 and 20 on the other, remain standing in their 
marked places, while Nos. 1, 5 9, 13 and 17 and Nos. 2, 6, 10, 14 and 
18 come down the center as partners, separate to the Right and Left 
upon reaching the front center, march around to the rear center, come 
down the center again, following the directions of the two curved lines, in- 
stead of the straight lines of figure 4. After having thus formed the 
curved lines down the center once, the two marching columns stop in 
the. marked standing places of figure 3, while Nos. 3, 7, 11, 15, 19, on 
one side, and Nos. 4, 8, 12, 16, 20, on the other, march down the center, 
separate at the front, and then each column forms curved lines down 
the center similar to those formed by the first two columns. When 
each column is marching, the hands holding the bell and the free hands 
are brought from the waist to the sides of the dress ; while those who 
are in the standing places raise the bell over head, the right arm being 
in a perpendicular position, with the little finger of the right hand 
directly to the front, the left arm and hand being brought down from the 
waist to the side of the body. The bell must be thus raised promptly 
by each pupil the moment the last two partners "fall into" their re- 
spective places in the marching columns, and then brought down to 
the sides of the body again the moment these same two partners once 
more resume their places as numbered in figure 3. After the curved 
lines of figure 4 have been formed once by the alternate marching 
columns, the class comes down the center in double column and with- 
out separating at the front center, march off the floor and is dismissed. 

For both Single and Doable Dumb-bell Exercises play Music No. 5 while 
exercising, and also during the accompanying marches. Whenever it 
is desirable to employ the "Polka step " in these marches, play Music 
No. 3 as employed for the Foot Exercise March. 



Soxg while Marching. 













— 




=1=1 


\ T -^ 1~ 




\X 




*=$ 


^ m ~ r 
/■ j— 0—0- 

1 ^ p 


J 





1. For - ward, all for - ward, With - bre in hand. Guard and pro - tect ye our dear ua - tive land. 

2. Strike, then, with cour - age, In God put your trnst, He shall pro - tect you, the Might - y and Just. 









ri-rri h 


r-1 : n 


-4 




2 m N-£^ 


Si] \ «« 






* * 




1 — M$g) - 



Fear - less - ly charge in the thick of the fight ! This be your watch-word, For God and the right. 
Proud - ly the Con-q'ror goes home from the field Crowned with the lau - rels that ric - fry shall yield. 

7842 



40 



CAUSTHENIC EXERCISES. 



DOUBLE DUMB-BELL EXERCISES, No. 1. 

1st Position. 
Bells under the armpits, shoulders well raised. 




MOVEMENTS. 



Out — To the Right (A) and Back to commencing position. 
Out — To the Left (B) and Back, to commencing position, thus : 



I 


2 


3 


4 5 


6 


7 


8 


(i) (R. H.) Out 


Back 


0. 


B. O. 


B. 


0. 


B. 


(2) (L. H.) Out 


Back 


0. 


B. O. 


B. 


0. 


B. 


(3) (R. H.) Out 


Back 


0. 


B. (L.H.) 0. 


B. 


0. 


B. 


(4) (Both) Out 


Back 


0. 


B. 0. 


B. 


O. 


2nd 



2nd Position. 



Both bells held firmly against the chest in a perpendicular position, 
with knuckles to the front. 



CAUSTHENIC EXERCISES. 
Fig. 8. 



4T 




MOVEMENTS. 



Out towards A, and back ; then out towards B, and back. 



I 


2 


3 


4 


5 


6 


7 


8 


(i) (R. H.) Out 


Back 


0. 


B. 


0. 


B. 


0. 


B. 


(2) (L. H.) Out 


Back 


0. 


B. 


0. 


B. 


O. 


B. 


(3) (R. H.) Out 


Back 


0. 


B. 


(L. H.) 0. 


B. 


0. 


B. 


(4) (Both) Out 


Back 


O. 


B. 


0. 


B. 


0. 


3d Pos. 



3rd Position. 



Bells resting upon the shoulders, elbows well raised. 




7842 



4 2 



CAUSTHENIC EXERCISES. 



MOVEMENTS. 



Out towards A and B, and then back to position again. 



I 


2 


3 


4 


5 


6 


7 


8 


<i) (R. H.) Out 


Back 


0. 


B. 


0. 


B. 


O. 


B. 


(2) (L. H.) Out 


Back 


0. 


B. 


0. 


B. 


0. 


B. 


(3) (R. H.) Out 


Back 


0. 


B. 


(L.H.)O. 


B. 


O. 


B. 


{4) (Both) Out 


Back 


0. 


B. 


O. 


B. 


O. 


4th Pos. 



4th Position. 
Fig. 10. 




Bells resting on top of the head, with the knuckles of the two 
hands touching. 

MOVEMENTS. 

Up in the directions of A and B, and then back to position again. 
1 

(1) (R. H.) Up 

(2) (L. H.) Up 
< 3 ) (R. H.) Up 
,(4) (Both) Up 

MARCH. 

When marching with two bells they are invariably held firmly 
.against the waists of the body, and are only brought down to the sides 

7842 



2 


3 


4 


5 


6 


7 


8 


Back 


U. 


B. 


U. 


B. 


U. 


B. 


Back 


U. 


B. 


U. 


B. 


u. 


B. 


Back 


U. 


B. 


(L. H.)U. 


B. 


u. 


B. 


Back 


U. 


B. 


U. 


B. 


u. 


Sides. 



CALISTHENIC EXERCISES. 



43 



when standing in a fronting position or facing each other in two 
columns down the center. 



a i b a s. b 




In Diagram 3 the two marching columns form two parallel circles, 
the odd numbers forming the inner and the even numbers the outer 
circle. In Diagram 4 the even numbers reverse the directions of their 
marching, " fall in " to their proper positions, and then the entire class 
form the large outer circle and march off the stage. 



DOUBLE-BELL EXERCISES, No. 2. 

1st Position. 
Same as Fig. 7 on Page 40, 
movements. 

While the position is the same as in Fig. 7, the movements are dif- 
ferent, being made by bringing the bell clown from underneath the arm- 
pits to the sides of the dress skirt with considerable force, and then 
recovering position again, thus : 

7842 



44 



CAUSTHENIC EXERCISES. 



I 2 


3 


4 5 


6 


7 8 


(i) (R. H.) Down Up 


D. 


U. D. 


U. 


D. U. 


(2) (L. H.) Down Up 


D. 


U. D. 


U. 


D. U. 


(3) (R. H.) Down Up 


D. 


U. (L. H.) D. 


U. 


D. U. 


(4) (Both) Down Up 


D. 


U. D. 


u. 


X.J . illUL J. US. 




2nd Position. 






Same 


as Fig. 8, page 41. 










MOVEMENTS. 


i 




Position same as Fig. £ 


\, movements different, being made from 


the chest directly in the front of body, with force, the bells being held 


perpendicular to the floor when thus extended and position recovered. 


1 2 


3 


4 5 


6 


7 8 


(1) (R. H.) Front Back 


F. 


B. F. 


B. 


F. B. 


(2) (L. H.) Front Back 


F. 


B. F. 


B. 


F. B. 


(3) (R. H.) Front Back 


F. 


B. (L.H.) F. 


B. 


F. B. 


(4) (Both) Front Back 


F. 


B. F. 


B. 


F. 3rd Pos. 



3rd Position. 
Same as Fig. 0, page 41. 
movements. 

These are made directly up from the shoulders to a perpendicular 
position over head as high as possible, and then recovering position again. 



I 


2 


3 


4 


5 


6 


7 


(!) (R. H.) Up 


Back 


U. 


B. 


U. 


B. 


U. 


(2) (L. H.) Up 


Back 


U. 


B. 


u. 


B. 


U. 


(3) (R. H.) Up 


Back 


U. 


B. 


(L. H.) U. 


B. 


u. 


(4) (Both) Up 


Back 


U. 


b: 


u. 


B. 


u 



4th Position. 
Same as Fig. 10, page 42. 
movements. 

From this position, the bells being placed upon the top of the head, 
they are moved with force over head again (as from the 3rd Position) 
as high as possible, the balls of the bells being lightly struck together 
at the odd counts when thus extended. 



CAUSTHENIC EXERCISES. 



45 



I 


2 


3 


4 5 


s 


7 


8 


(i) (R. H.) Up 


Back 


T T 

u. 


T» T T 

B. U. 


B. 


U. 


B. 


(i) (L. H,) Up 


Back 


u. 


B. U. 


B. 


U. 


B. 


(3) (R. H.) Up 


Back 


u. 


B. (L. H.) U. 


B. 


u. 


B. 


(4) (Both) Up 


Back 


u. 


B. U. 


B. 


u. 


To the 



MARCH. 

Employ the same march as diagrammed for the Finger Exercises 
in Free-Hand Calisthenics. (Page 12 to 16). 



DOUBLE-BELL EXERCISES, No. 3. 



1st Position. 
Fig. 11. 




• 



Bells parallel down by the sides of the body, about 4 inches distant 
from it, and held firmly at arms' length, the insides of the hands towards 
the body as in Fig. n. 

MOVEMENTS 

are made by twisting over the arms so that the knuckles of the hands are 
next to the body instead of the fingers, the thumbs describing a semi- 
circle from the front to the back. 

7842 



4 6 



CALISTHENIC EXERCISES. 



Thumbs. 

(1) (R. H.) Over Back 

(2) (L. H.) Over Back 

(3) (R. H.) Over Back 

(4) (Both) Over Back 



3 


4 


5 


6 


7 


8 


0. 


B. 


O. 


B. 


O. 


Jd. 


0. 


B. 


0. 


B. 


O. 


B. 


0. 


B. 


(L. H.) 0. 


B. 


O. 


B. 


0. 


B. 


O. 


B. 


0. 


2nd Pos. 



2nd Position. 
Fig. 12. 




Bells held at arms' length out, right and left, in a straight line from 
the shoulder, knuckles uppermost. 

MOVEMENTS 

made by again twisting the arms over in the direction of the arrows, so 
that the thumbs will describe a semi-circle from the front to the rear, 
and then recovering position. 



I 


2 


3 


4 


5 


6 


7 


8 


Thumbs. 
















(1) (R. H.) Over 


Back 


P. 


B. 


0. 


B. 


0. 


B. 


(2) (L. H.) Over 


Back 


0. 


B. 


O. 


B. 


0. 


B. 


(3( (R.H.) Over 


Back 


0. 


B. 


(L. H.)0. 


B 


O. 


B, 


(4) (Both) Over 


Back 


0. 


B. 


0. 


B. 


O. 


3 r d 



7842 



calisthenic exercises. 47 

3rd Position. 
Fig. 13. 

m 



Bells held straight out in front of the body, arms and bells parallel, 
thumbs uppermost. 

MOVEMENTS. 

Twist the arms over again, while thus extended to the front, until 
the thumbs are underneath and the little fingers uppermost. 



B. 
B. 
B. 

4th Pos. 



Thumbs. I 


2 


3 


4 


5 


6 


7 


(1) (R. H.) Over 


Back 


O. 


B. 


O. 


B. 


B. 


< 2 ) (L. H.) Over 


Back 


0. 


B. 


O. 


B. 


0. 


(3) (R.H.) Over 


Back 


0. 


B. 


(L. H.) 0. 


B. 


O. 


(4) (Itoth) Over 


Back 


0. 


B. 


0. 


B. 


0. 



4th Position. 
Fig. 14. 




7842 



4 8 



CALJSTHENIC EXERCISES. 



Arms and bells extended over head parallel with each other, thumbs 
pointing to the rear, little fingers in front. 

MOVEMENTS. 

Twist the arms, while thus extended, so that the thumbs will be 
brought from the rear to the front, and the little fingers vice versa. 



I 


2 


3 


4 


5 


6 


7 


8 


Thumbs. 
















(i) (R. H.) Front 


Back 


F. 


B. 


F. 


B. 


F. 


B. 


(2) (L. H.) Front 


Back 


F. 


B. 


F. 


B. 


F. 


B. 


(3) (R. H.) Front 


Back 


F. 


B. 


(L. H.) F. 


B. 


F. 


B. 


(4) (Both) Front 


Back 


F. 


B. 


F. 


B. 


F. 


To Sides 



MARCH. 

After finishing these Exercises execute the March for the Hand 
and Wrist — Free-Hand Exercises — on page 18. 



DOUBLE-BELL EXERCISES No. 4. 

1st Position. 
Arms at the sides of body same as Fig. n, page 45. 

movements. 

At the odd counts the whole arm describes a quarter of a circle by 
being brought up on a straight line with the shoulders, as represented 
by Fig. 12, page 46, and is then brought back to position again at the 
even counts. 



I 


2 


3 


4 


5 


6 


7 


8 


(1) (R. Arm) Up 


Back. 


U. 


B. 


U. 


B. 


U. 


B. 


(2) (L. Arm) Up 


Back 


U. 


B. 


U. 


B. 


U. 


B. 


(3) (R. Arm) Up 


Back 


U. 


B. 


(L. A.) U. 


B. 


u. 


B. 


(4) (Both) Up 


Back 


U 


B. 


U. 


B. 


u. 


2nd Pos. 



2nd Position. 

Same as represented by Fig. 13, page 47, except that the faces of 
the bells are held together directly in front and out at arms' length from 
the body, instead of being separated and parallel. 



CALISTHENIC EXERCISES. 49 



Fig. 15. 




MOVEMENTS. 

The bells are brought down from out in front of the body to the 
sides of the same, as at A and B, Fig. 15, the palms of the hands to the 
front and the little fingers next to the dress, the inside balls of the 
bells barely touching the dress. Upon returning them to position in 
front of body the bells are struck together. 





1 2 


3 


4 5 


6 


7 


8 


(1) (R. Arm) 


Down Back 


D. 


B. D. 


B. 


D. 


B. 


(2) (L. Arm) 


Down Back 


D. 


B. D. 


B. 


D. 


B. 


(3) (R. Arm) 


Down Back 


D. 


B. (L. A.) D. 


B. 


D. 


B. 


(4) (Both) 


Down Back 


D. 


B. D. 


B. 


D. 


3rd Pos. 



3rd Position. 

The third position of this exercise is exactly the same as the pre- 
ceding 2nd position, the bells being extended directly in front of the 
body and held closely together. The movements, however, are dif- 
ferent from the preceding 

MOVEMENTS. 

Without bending the arms at the elbows or turning them in the 
least, they are brought back into the position of Fig. 16, A and B, and 
then returned to commencing position again, the bells being struck 
together with some force when thus meeting. 

7842 



SO 



CALISTHKNIC EXERCISES. 



Fig. 16. 




I 2 


3 


4 


5 


6 


7 


8 


(i) (R. Arm) Back Front 


B. 


F. 


B. 


F. 


B. 


F. 


(2) (L. Arm) Back Front 


B. 


F. 


B. 


F. 


B. 


F. 


(3) (R. Arm) Back Front 


B. 


F. 


(L. A.) B. 


F. 


B. 


F. 


(4) (Both) Back Front 


B. 


F. 


B. 


F. 


B. 


4th 



4th Position. 

This position is the same as Fig. 14, page 47, except that the bells 
are held over head at arms' length, the balls touching. 

MOVEMENTS. 

They are made by bringing the whole arm unbent down from over- 
head to the sides of the body until the knuckles touch the dress, then 
up to position again, thus describing a semi-circle. 



I 2 


3 


4 


5 


6 


7 


8 


(1) (R. Arm) Down Up 


D. 


U. 


D. 


U. 


D. 


U. 


(2) (L. Arm) Down Up 


D. 


U. 


D. 


U. 


D. 


U. 


(3) (R. Arm) Down Up 


D. 


U. (L. 


A.) D. 


U. 


D. 


u. 


(4) (Both) Down Up 


D. 


U. . 


D. 


U. 


D. 


U. 



MARCH. 

Same as March after Fore-arm Exercise, on page 19. 

7842 



CALISTHENIC EXERCISES. 



51 



No. 5. COMBINED DOUBLE DUMB-BELL EXERCISE. 

1st Position. 

Bells underneath the armpits, same as represented by Fig. 7, p. 40. 

THE MOVEMENTS 

are alternate combinations of those for Double Dumb-bell Exercises 
Nos. 1 and 2, as follows: At the 1st count force the bells down to 
the sides of the body, at 2nd count recover position ; at the 3rd count 
the bells are forced out to the right or left (see A and B, fig. 7), at 4th 
count recover position, at the 5th count down again, at the 6th count 
recover position, at the 7th count out again ; at the last (8th) count, 
each member of the class turns promptly and faces to the Right at the 
same moment that the bells are brought into the 2nd Position — thus : 





I 


2 


3 


4 


5 


6 


7 


8 


(1) (R. H.) 


Down 


Position 


0. 


P. 


D. 


P. 


0. 


P. 


(2) (L. H.) 


Down 


Position 


0. 


P. 


D. 


P. 


O. 


p 


(3) (R. H.) 


Down 


Position 


0. 


P. 


(L. H.) D. 


P. 


O. 


P. 


(4) (Both) 


Down 


Position 


0. 


P. 


D. 


P. 


0. 


3rd 



2nd Position, 
which is the same as that represented by Fig. 8, page 41. 

THE MOVEMENTS 

are also alternate combinations of those made from the 2d Positions in 
Exercises Nos. 1 and 2, as follows: 1st, out in front of the body; and 
2nd, out to the right and left. 

1234 5678 

(1) (R. H.) Front Position Out Pos. Front Pos. Out Pos. 

(2) (L. H.) Front Position Out Pos. Front Pos. Out Pos. 

(3) (R. H.) Front Position Out Pos. (L. H.) Front Pos. Out Pos. 

(4) (Both) Front Position Out Pos. Front Pos. Out 3d Pos. 

Simultaneously with taking the 3rd Position with the bells, each 
member again turns and faces Right, thus bringing their backs to the 
front and their faces to the rear. 

3rd Position. 

Same as Fig. 9, page 41, bells being placed upon the shoulders 
near the root of the neck. 

7842 



52 



CAUSTHKNIC EXERCISES. 



THE MOVEMENTS 

are combined from those of the 3rd Position in Exercises Nos. 1 and 2, 
being both up over head and out on a line with the shoulders, as follows : 

1 2 3 4 5 6 7 ' 8 

(1) (R. H.) Up Position Out Pos. Up Pos. Out Pos. 

(2) (L. H.) Up Position Out Pos. Up Pos. Out Pos. 

(3) (R. H.) Up Position Out Pos. (L. H.) Up Pos. Out Pos, 

(4) (Both) Up Position Out Pos. Up Pos. Out 4th Pos. 

At the very moment the bells are brought into the 4th Position, 
each member again turns to the Right. This will present the Right 
side of the body to the front and the L,eft side to the rear. 

4th Position. 

Both bells raised at arms' length over head and held parallel with 
each other, with the little fingers of the hands to the front. 

THE MOVEMENTS 

are two fold from this position. First down to the position upon top of 
the shoulders near the root of the neck, and then out on a straight line 
from the shoulders, with arms extended to the Right or Left, then back 
again to the shoulders, and then up again into position, as follows : 

1234 5 6 7 8 

(1) (R. H.) Down Out Back Up Down Out Back Up 

(to Shl'drs) (to R.) (to Sh'ldrs) (to Pos.) (to Sh'ldrs) (to R.) (to Sh'ldrs) (to Pos.) 

(2) (L. H.) " Out " " " Out 

(to Left) ■ (to Left) 

(3) (R. H.) " Out " " (L. H) " 

(to Right) 

(4) (Both) " Out " " " Out " To Sides. 

(Right and Left) (Right and Left) 

Simultaneously with the last count (8), when the arms are brought 
to the sides of the body, the pupils again face to the Right, thus bring- 
ing the class with faces to the front, as they stood when commencing 
this Exercise. This is a very beautiful Exercise, as well as a very diffi- 
cult one to execute. It will be well to drill the class thoroughly in tak- 
ing the four different standing positions simultaneously with the bells be- 
ing brought to their four different positions — thus : 

"1st Position." 

" Bells underneath the armpits— Pupils facing to the Front." 

7842 



CALISTHENIC EXERCISES. 



53 



" 2nd Position." 

" Bells placed in front upon the chest — Pupils all facing to the Right. 
"3rd Position." 

" Bells resting upon the shoulders — Pupils all facing to the Rear.' 

"4th Position." 
" Bells extended over head — Pupils all facing to the Left." 

. ■ ' if. 



a 



KiOHT^^j ekc^>» >■ D LETT 



The four arrows point in the direction that the pupils are to faee 
as each command is given by the instructor. 

MARCH. 

The March for the Foot and Leg Exercises, on page 30, may be 
used after going through this Exercise. Play Music No. 5. 



No. 6. GR^CO-ROMAN POSITIONS AND 

DOUBLE-BELL EXERCISES COMBINED. 

1st Position of the Bells. 

Arms down at the sides of the body ; bells grasped firmly in the 
hands and held parallel with each other, the little fingers to the rear 
and thumbs to the front. 

movements. 

At the First Count describe a half circle to the rear with both bells, 
striking the balls together behind the back of the body. At the Second 
Count circle the bell's around the body from the rear to the front, strik- 
ing the balls of the bells together in front of the body. At the Third 
Count describe a circle to the rear again, striking the bells together be- 

7842 



54 



CALISTHKNIC KXKRCISKS. 



hind the body. At the Fourth Count circle again to the front, striking 
the bells together ; at the Fifth Count to the rear ; at the Sixth Count to 
the front; at the Seventh Count to the rear, each time striking the balls 
of the bells together ; and then, at the last (Eighth) Count, promptly 
return both bells and body into the Stationary position, represented by 
the following figure : 

Fig. 17. 




At the 8th count each pupil steps forward (diagonally between the 
front and right) one step with the right foot, the left foot remaining in 
position, being raised upon the toes, the heel raised from the floor, the 
body gracefully leaning forward, the bells being held in front of the 
body at arms length, the line of vision, A B, looking from the top of 
the bells to the floor at about an angle of 45 °. The pupils remain im- 
movable in this position while they count eight the second time. At 
the second 8th count all regain 1st position again. The bells are then 
circled around the body again, while the class count eight a third time, 
first striking them together in the rear at the odd counts, 1, 3, 5, 7, and 
then in front at the even counts, 2, 4, 6, 8, when at the third 8th count 
the pupils step forward (diagonally between the front and left) with the 
left foot, the right foot remaining in position, only differing from the 
first movement in that it is made towards the Left instead of the Right. 
The class remain immovable in this position while eight is counted a 
fourth time, when at the fourth 8th count commencing position is re- 
sumed again. Then circle the bells as before, counting eight, and at 
the 8th count take the stationary position, represented by the following 
figure 18, by stepping back with the right foot, the left foot remaining 
stationary, extending the bells in front of the body at arms' length, 
the line of vision being directed toward the ceiling and to the Right, 
over the top of the bells, as shown by the dotted lines, A B. 

7842 



CAUSTHENIC EXERCISES. 55 
Fig. 18. 




The pupils remain immovable in this stationary position while 
Eight is again counted. Then at the last count (8) position is again 
taken, the bells being circled for a fourth time, after which a similar 
stationary position is assumed by stepping back with the left foot, ex- 
tending arms at full length to the front, and looking up to the ceiling 
towards the left, on a line with the top of the bells. The arrows in 
the following diagram will show the direction of the steps taken by the 
right and left foot in assuming the stationary positions after circling 
the bells : 




2nd Position of the Beles. 

Arms extended in front of the body parallel with each other, bells 
held parallel with each other and perpendicular to the floor, as in 



56 



CALISTHENIC EXERCISES. 



Fig. 13, page 47. Movements are made by causing the bells to describe 
circles in front of the body, by first striking the balls near the little 
fingers together at the even counts 2, 4, 6, and then at 8 taking one 
step with the Right foot to the Front and Right, the left foot remaining 
in position, as in Fig. 17. At the same count this step is taken the 
right bell is placed against the side of the head over the right ear, 
while the left bell is held against the waist on the left side of the body. 
The pupils remain perfectly still in this stationary position, count eight, 
and then resume commencing position again. The bells are again 
circled in front of the body as before, when a similar stationary posi- 
tion is taken to the left and front, stepping forward with the left foot, 
the left bell over the left ear and the right bell at the waist. A third 
time commencing position is taken at the Eighth Count, the bells circled 
as before, and at the Eighth Count the stationary position of Fig. 18, 
page 55, is taken, by stepping back with the Right foot, the left station- 
ary, the right bell over the right ear, the left at the waist. At the 
Eighth count again take position, circle the bells, and perform a sim- 
ilar movement by stepping back with the left foot, the right stationary, 
with the left bell over the left ear, the right at the waist. After the 
bells have thus been circled four times, and the four different stationary 
positions taken at the proper counts, the class take the 

3rd Position of the Bells 

by extending at full length the arms perpendicularly over head and par- 
allel with each other, the little fingers of the hand to the front. 

Movements of the bells are made by circling them over the head, 
Striking the balls next the little fingers at the odd counts, and then 
those next the thumbs at the even counts. Stationary positions are as- 
sumed as before: 1st, with the right foot forward; 2nd, left foot for- 
ward; 3rd, right foot to the rear; 4th, left foot to the rear. As the 
right foot steps forward or backward, the right arm is kept in the raised 
position over head, while the left arm is brought down and held at full 
length behind the body as far as possible. When the left foot steps for- 
ward, the left arm is kept up over head, and the right arm brought down 
and held behind the body in a similar manner. After the bells have 
thus been circled and the stationary positions taken four times, the class 
assumes the 

4th Position of the Bells, 

which is exactly the same as the 1st Position — arms being down at 
the sides. The bells are then moved in circles around the body, as from 
the first position, and stationary positions are assumed as follows : 



CALISTHENIC EXERCISES. 



57 



(1) Circle the bells. 

(2) Kneel upon the right knee, with arms crossed in front of the body, 

the eyes looking down towards the floor. 

(3) Circle the bells. 

(4) Kneel upon the left knee, arms crossed, eyes looking down. 

(5) Circle the bells. 

(6) Kneel upon right knee, arms crossed, eyes looking up to the ceiling. 

(7) Circle the bells. 

(8) Kneel upon the left knee, arms crossed, eyes raised towards ceiling. 

Any one of the varied marches may be executed at the comple- 
tion of this Exercise, which is by far the most difficult and at the 
same time the most beautiful in the book. It will require long prac- 
tice for the class to be able to assume the different stationary positions 
with the ease and grace suitable for public exhibitions. Music No. 5 is 
especially adapted to this exercise. The two measures of it that are 
played while the bells are " circling " should be loud and well empha- 
sized, while the following two measures should be played very softly, 
when the pupils are in their stationary positions. 

This concludes our Dumb-bell Exercises, and we next introduce 

Exercises with Wands. 



Fig. 19. 




The Wand should be made of White pine, if possible. It should 
be smooth and round, about three-quarters of an inch in thickness. In 



58 



CALISTHENIC EXERCISES. 



length it should be long enough to reach perpendicularly from the floor 
to the top of the shoulder of the pupil who makes use of it. It can 
be made very beautiful by wrapping it with scarlet braid, " like a stick 
of candy," and then having two little toy brass bells securely fastened 
to it about four inches from each end of the wand. The tinkling of the 
little bells will emphasize the rhythm of the music. 

At the command " Form class for Wand Exercise ! " the pupils as- 
semble in the rear of the room, as directed in the exercises, facing to 
the front. They hold the wand perpendicularly in the Right, hand, be- 
tween the thumb and forefinger, in a manner somewhat similar to that of 
holding a pen when writing. The Instructor then counts " i, 2, 3," or 
this measure of music is played : 





\ 


A 


A 




*r*4 1 1 ! 








* 











I, 2, 



At the first count (1) the wand is grasped by the fingers and thumb 
•of the left hand at the point A represented in Fig. 20. 




In thus grasping the wand with the left hand the knuckles of the 
four fingers will be to the front, and the thumb to the rear. 

At the second count (2) the wand is raised by the left hand until 
the back of the wrist of the left hand touches the bottom of the chin, 

7842 



CALISTHENIC EXERCISES. 



59 



the right arm remaining perfectly stationary, as in Fig. 19, extended 
down by the side of the body, while the wand is being drawn up to the 
height represented by Fig. 21. 



At the third count (3) the left arm is brought to the left side as in 
Fig. 19, while the right hand holds the wand between the thumb and 
forefinger in the position to which it has been raised in Fig. 21. The 
wand is thus invariably held between the thumb and forefinger of the 
right hand while marching to the standing positions, and while execut- 
ing the other marches following the Wand Exercises. The left hand 
is at the waist — thumbs to the front, and fingers pressed against the 
spine — while marching, and only at the sides of the body when the 
pupil is commanded to " Faces Front!" 



Having " Formed Class," march to the standing places the same 
as in the other exercises, and having " Faces Front," the Instructor 
commands : 



Fig. 21. 




WAND EXERCISES, No. 1. 




" Wand Exercise — First Position ! ' 

7842 




1st Position. 

At the last word of this command, " Position! " the wand is brought 
down in front of the body and grasped by the left hand at the same 
distance from the opposite end that it is grasped by the Right hand, the 
latter not changing its place of holding the wand, represented in 
Fig. 21. 

MOVEMENTS. 

These are made to the Right, A, as represented by the dotted lines, 
and to the left, represented by the dotted lines, B, as follows : 





1 


■ 2 


3 


4 


5 


6 


7 


(i) (Arms) 


Right 


Pos. 


R. 


P. 


R. 


P. 


R. 


(2) (Arms) 


Left 


Pos. 


L. 


P. 


L. 


P. 


L. 


(3) (Arms) 


Right 


Pos. 


R. 


P. 


L. 


P. 


L. 


(4) (Alternate) Right 


Left 


R. 


L. 


R. 


L. 


R. 



2nd Position. 
i 

The wand being held at the waist, hands grasping it in the same 
places as in 1st position. 

movements. 

These are made by circling the wand around the body at the waist 
in the direction of the curved arrows, A and B, first to the right, then 
to the left, and then alternating thus : 

7842 



CAUSTHENIC EXERCISES. 



61 



Fig. 23. 




I 


2 


3 


4 


5 


6 


7 


8 


(i) (Arms) Right 


Pos. 


R. 


P. 


R. 


P. 


R. 


P. 


(2) (Arms) Left 


Pos. 


L. 


P. 


L. 


P. 


L. 


P. 


(3) (Arms) Right 


Pos. 


R. 


P. 


L. 


P. 


L. 


P. 


(4) (Alternate) Right 


Left 


R. 


L. 


R. 


L. 


R. 


3rd Pos. 



3rd Position. 
Fig. 24. 




Wand as high up on the chest as possible, elbows above the wand 
invariably when the position is recovered. 

MOVEMENTS 

are first made down to the position of Fig. 22, and out at arms' length in 
front of the chest and body, thus : 

7842 



62 CALISTHENIC EXERCISES. 





1 


2 


7. 



4 


D 


6 


7 


8 


(i) (Arms) 


Down 


Pos. 


D. 


P. 


D. 


P. 


D. 


P. 


(2) (Arms) 


Out 


Pos. 


O. 


P. 


0. 


P. 


O. 


P. 


(3) (Arms) 


Down 


Pos. 


D. 


P. 


0. 


P. 


0. 


P. 


(4) (Alternate) 


Down 


Pos. 


O. 


P. 


D. 


P. 


0. 


4th 



4th Position. 
Fig. 25. 




Wand over head at full arms' length, body erect. 

movements. 

The wand, still grasped by both hands, is brought down to the 
Right and Left sides of the body in as nearly a perpendicular position 
as possible, represented by the dotted wands, A B and C D, moving in 
the directions of the curved arrows thus : 





1 


2 


3 


4 


5 


6 


7 


8 


(3) (Arms) 


Right 


Pos. 


R. 


P. 


L. 


P. 


L. 


P. 


(2) (Arms) 


Left 


Pos. 


L. 


P. 


L. 


P. 


L. 


P. 


(1) (Arms) 


Right 


Pos. 


R. 


P. 


R- 


P. 


R. 


P. 


(4) (Alternate) Right 


Pos. 


L. 


P. 


R. 


P. 


R. 


At Side. 



7842 



CAUSTHENIC EXERCISES. 63 

Or the 4th movement from this position may be made thus : 

123456 78 
(4) Right Left Right Left Right Left Right At Side. 

At the last count (8) of the fourth movement the wand is held at 
the right side, as in Fig. 20, the left arm dropping to the left side, as 
in Fig. 19 : 



WAND MARCH, No. 1. 



A 

I 



TWICE 



*8 



1 



i 

C 




A 
i i 



3 



.-<- 



ii ii 



1 1 



ft iiUck H 

• i 



i i 
i i 

25" 



c 



c,--|:r 



v\/vv 



vvvi 



i 

« . 1 
< i • 
i • » 



Diagram i represents a single marching column ; Diagram 2 the 
class marching in double column down the center, and then separating 
right and left at the front center ; Diagram 3 represents the class 
marching down the center in four columns, the taller pupils invariably 
being in the center ; Diagram 4 the class marching down the center 
in eight columns. After coming down the center in eight columns 
twice, the class march off the floor and is dismissed. Play Music No. 2 
for this exercise, and any of the Marches afterwards. 

7842 



6 4 



CALISTHENIC EXERCISES. 



WAND EXERCISE, No. 2. 



1st Position. 
Same as that of Wand Exercise, No. i. 

movements 
Also the same as those of Wand Exercise, No. i. 

2nd Position. 
Same as 2nd Position of Wand Exercise, No. 1. 

MOVEMENTS. 

Also same as those from 2nd Position of Wand Exercise, No. 1. 



Wand extended at arms' length in front of chest and body. 

MOVEMENTS. 

The wand is brought into a perpendicular position in front of the 
body by bringing the right hand down in the direction of the curved 

7 8 42 



3rd Position. 



Fig. 26. 



& C 





CALISTHENIC EXERCISES. 



arrow to A, the left hand at the same time moving in the direction of 
the curved arrow to C. Then the left hand moves to B, while the right 
hand moves to A. When the right hand moves to A, the left hand will 
be above it. When the left hand moves to B, the right hand will be 
above. 

Order of these movements is as follows : 





1 


2 


3 


4 


5 


6 


7 


8 


(i) (R.H.) 


Down 


Pos. 


D. 


p. 


D. 


P. 


D. 


P. 


(2) (L. H.) 


Down 


Pos. 


D. 


p. 


D. 


P. 


D. 


P. 


(3) (R.H.) 


Down 


Pos. 


D. 


P. (L.H.)D. 


P. 


D. 


P. 


(4) Altern. < 


fdLE) 

Down 

(L. H.) ' 

I Up 


r (E. H.) 

U P , 

(L. H.) 

^ Down 


f(R. H.) 
Down 

(L. H.) * 
I Up 


(L. H.) ' 

L Down 


r at. h.) 

Down 

A*! 


'& E) 

Up 

(L. H.) 

^ Down 


ra E) 

Down 

a. E) * 






In the fourth movement from this position the wand is not brought 
back into position at the even counts 2, 4, 6, but makes alternate move- 
ments to the right and left in a half circle. 



4th Position. 

Same as that represented in Fig. 25, the wand being extended at 
arms' length over head. 

MOVEMENTS 

are made first down to the chest in front, the elbows being above the 
wand, as in Fig. 24 ; and then back behind the shoulders, as represented 
by Fig. 27. 

Fig. 27. 



66 



CALISTHENIC EXERCISES. 



ORDER OF MOVEMENTS. 





I 


2 


3 


4 


5 


6 


7 


8 


(0 


Front 


Pos. 


F. 


P. 


F. 


P. 


F. 


P. 


(2) 


Back 


Pos. 


B. 


P. 


B. 


P. 


B. 


P. 


(3) 


Front 


Pos; 


F. 


P. 


B. 


P. 


B. 


P. 


(4) 


Front 


Back 


F. 


B. 


F. 


B. 


F. 


At Side. 



The last movements from this position being made alternately in 
front upon the chest, and then over head, behind the back of shoul- 
ders. Play Music No. 2 for this Exercise. 



MARCH. 

After this Exercise the class may execute any of the preceding dia- 
grammed Marches in " quick time " instead of the regular slow marching 
time, the pianist playing Music No. 6, or any other quick time March. 



WAND EXERCISE, No. 3. 

1st Position. 

Same as that of the ist Position in Wand Exercise, No. i, Fig. 22, 
wand being down in front of the body, held at full arms' length. 

MOVEMENTS 

first are made by bringing the wand to a perpendicular position upon 
the left side of the body by keeping the left hand down, and circling out 
and upward until the Right fore-arm is up underneath the chin, and 
then making a similar movement by raising the Left fore-arm up under 
the chin, while the right hand remains stationary in position. 

In making these movements with the right arm, the left arm re- 
mains stationary, the wrist of the left hand only turning as the wand 
is being brought up to the perpendicular position at the right side. In 
the same manner the right remains stationary, the wrist only turning 
when the left fore-arm is brought upward underneath the chin. 

7842 



CAUSTHENIC EXERCISES. 



6 7 



Fig. 28. 




ORDER OF MOVEMENTS. 



(1) (R. A.) 

(2) (L. A.) 

(3) (R. A.) 



I 


2 


3 


4 


5 


6 


7 


Up 


Pos. 


U. 


p. 


U. 


P. 


U. 


Up 


Pos. 


U. 


p. 


U. 


P. 


U. 


Up 


Pos. 


u. 


p. 


(L.A.)U. 


P. 


u. 


Up 














Down 


lu. 


Id: 


IS: 


■{£; 


IS: 


IS: 



P. 

p. 
p. 

2nd 
Pos. 



2nd Position. 

This position is similar to that represented by Fig. 26, the wand 
being held between the tips of the fingers and the thumbs, extended in 
front at arms' length, the hands being raised from the wrists so that the 
palms are presented to the front. 

THE MOVEMENTS 

are made by first moving hands down from the wrists so that the knuckles 
will be to the front at the odd counts 1, 3, 5, 7, and recovering position 
again at the even counts 2, 4, 6, 8. While this is being done the arms 
remain stationary and extended directly in front of the body. The next 
movements are made by bending the Fore-arm upwards into a perpen- 
dicular position at the elbow, the upper part of the arm being kept at 
rest in position. These movements are only those of the hands from the 
wrists, and of the fore-arm from the elbow. When the fore-arm move- 
ment is made, the wand will be raised to the height of the forehead. 

7842 



68 



CALISTHENIC EXERCISES. 



ORDER OF MOVEMENTS. 



I 


2 


3 


4 


5 


6 


7 


8 


(i) (Wrists) Down 


Pos. 


D. 


P. 


D. 


P. 


D. 


P 


(2) (Fore-arm) Up 


Pos. 


U. 


P. 


U. 


P. 


U. 


P 


(3) (Wrists) Down 


Pos. 


D. 


U. 


(F.A.)U. 


P. 


u. 


P 



(4) (Wrists) Down Pos. (F.A.)U. P. (W.) D. P. (F.A.) U. 3rd Pos. 

3rd Position. 

This is the same as Fig. 24, the wand being held at arms' length 
overhead, the body being perfectly erect. 

THE MOVEMENTS 

are first made by bringing the right arm down to the right side of the 
body, and at the same time bending the left fore-arm at the elbow and 
bringing it down until the left hand rests upon the top of the head ; 
second by making a similar movement to the left side of the body until 
the right hand is on top of the head, and the left arm down at the side, 
represented by the following 

Fig. 29. 




7842 



CALISTHENIC EXERCISES. 



69 



ORDER OF MOVEMENTS. 





j 


2 


3 


4 


5 




7 


a 



(1) (R. A.) 


Down 


Pos. 


D. 


p. 


D. 


p. 


D. 


P. 


(2) (L. A.) 


Down 


Pos. 


D. 


p. 


D. 


p. 


D. 


P. 


(3) (R- A.) 


Down 


Pos. 


D. 


P. (LA.] 


D. 


p. 


D. 


P. 


(4) (Altern.) 


| R. A. 
{ Down 


L. A. 
Down 


R. A. 
Down 


L. A. 
Down 


R. A. 
Down 


l. a: 

Down 


R. A. 
Down 


4th 
Pos 



4th Position. 

This position is similar to that represented by Fig. 25, only differ- 
ing from it in that the hands are moved nearer the ends of the wands 
so as to facilitate the execution of the movements. At the last (eighth) 
count, in making the movements from the 3rd Position the hands are 
slipped along the wands to a distance of about four inches from each 
end ; at the same time the 4th Position over head is taken. 



The movements. 
Fig. SO. 




These movements are all made, from the position over head, down 
behind the back of the body — represented by the dotted wand A B — in 
the following order : 

7842 



7 o 



CALISTHENIC EXERCISES. 



(I) 

(2) 

(3) 



R. H. 
Down 



L. H. 

Down 



| L. H. R. H. 

1 Down Down 



R. H. 
Down 



r r. h. 

(4) Altern. £™ n 
I Up 



L. H. 

Down 

L. H. 
Down 
R. H. 
Up 



3 

R. H. 

Up 

L. H. 

Up 

R. H. 

Up 

R. H. 
Down 
L. H. 

Up 



4 

L. H. 
Up 

R. H. 
Up 

L. H. 

Up 

L. H. 
Down 
R. H. 
Up 



5 

R.H. 
Down 

L. H. 
Down 

L. H. 
Down 

R. H. 

Down 
L. H. 
Up 



L. H. 
Down 

R.H. 
Down 

R. H. 
Down 



7 

R.H. 
Up 

L. H. 

Up 

L. H. 

Up 



8 

L. H. 
Up 

R.H. 
Up 

R.H. 
Up 



L. H. R.H. f 

Down Down ^ 

R.H. L. H. w 

Up Up p 



While executing this Wand Exercise, No. 4, play Music No. 2. 

MARCH. 

Form the same figures as diagrammed for Wand March, No. 1, on 
page 63 ; and at the second formation of the class in eight columns 
down the center, when the first line of eight pupils reach the front, in- 
stead of separating, have them " halt," and at the command " Order — 
Wands ! " the ends of the wands are allowed to drop upon the floor, 
slipping through the thumbs and fingers to the position of Fig. 19. 
They are then again brought up to the shoulders in time with the 
counting " 1, 2, 3," as they were at first. This drill may be repeated 
several times, and at the conclusion the class may be "double quicked" 
off the floor. 

This concludes our Calisthenic Exercises with the Wands. Many 
other beautiful and healthful Exercises could be here introduced, but 
we leave them out for the want of space. The Teacher who has care- 
fully practiced his class in the Exercises herein presented will readily 
be able to invent others equally as interesting to himself and his pupils. 



Calisthenic Exercises with Rings. 

The best and most popular Rings for Exercises in Schools and 
Classes are made of wood. Any hard wood will answer. They should 
be made of two different kinds of wood, or they may be painted thus 
to suit the taste, one half being light colored, the other half dark col- 
ored. The body of the rings suitable for boys and girls should be three- 
fourths of an inch in thickness, and have an inner diameter of four and 
a half inches. The very best rings for Calisthenic Exercises are high 
priced ; but a very good and suitable ring, generally sold by dry goods 

7842 



CALISTHKNIC EXERCISES. 



71 



merchants as a towel ring, can be purchased for a small sum, and made 
to answer ail necessary purposes. 

In forming a class for Ring Exercises the odd-numbered pupils have 
dark-colored rings in their right hand, and the others light-colored rings 
in the same hand. The hands are at the sides when standing and facing 
Front. The right hand holding the ring down at the side of the body r 
the left hand being at the waist, when marching. 



FIRST RING EXERCISE. 

The four different positions, and also the different movements, are 
made exactly the same as in the " Single Dumb-Bell Exercise," as de- 
scribed commencing on page 34. The same March following the 
"Single-Bell Exercise" is performed — with this variation: When the 
two columns come down the center in twos the ring hand is grace- 
fully raised over the head, the knuckles being to the front, and the 
ring being held by the tips of the fingers and thumbs. 

Music No. 7 should be played while exercising, and Music No. 3 
while marching, the class executing the " Polka Step " instead of the 
regular marching step. 

All the other Ring Exercises are "Combined"; that is, require 
two pupils to make the proper movements with the rings, each pupil 
grasping the ring of his or her partner with the left hand while facing 
each other. 



SECOND RING EXERCISE-COMBINED. 

1st Position. 

] 

The class having been formed, and having marched to their stand- 
ing places, the Instructor gives the command, "Second Ring Exer- 
cise — First Position ! " 

V 

At the last word, " Position," the odd numbers face to the Left, and 
the even numbers to the Right, take one step forward with the left foot 
and plant it, then one step forward with the right foot so as to bring- 

7842 




72 



CAUSTHENIC EXERCISES. 



them side by side. At the same moment the right foot is advanced for- 
ward, the odd numbers extend their dark-colored rings straight out in 
front of their chests, and it is grasped with the right hand by the even 
numbers, who have changed their light-colored rings to their left hands 
and hold it against their waists — thus : 



Fig. 31. 




THE MOVEMENTS. 

Pupil No. i pulls the ring towards himself until his elbow is as far 
behind him as possible, at the odd counts r, 2, 3, 5,7, while No. 2 pushes 
it forward ; and then pupil No. 2 pulls the ring towards himself at tbe 
even counts 2, 4, 6, 8, while No. 1 pushes in return. Eight alternate 
motions are thus made. 

At the last count (8) pupil No. 2 extends his ring — still held in the 
left hand — to pupil No. 1, who grasps it with his left hand (both bring- 
ing their right hands to their waists), when Bight similar movements 
are made by pupil No. 1 pulling the ring at the odd counts, and pushing 
it at the even counts, while pupil No. 2 does the reverse. Next four 
similar movements are made with the dark ring, and four with the light 
ring; and, finally, Eight similar movements are made, alternating, first 
with the black ring, and then with the white ; and at the last count (8) 
taking the 

2nd Position. 

Both pupils bring the right foot back to the side of the left at the 
last count (8) of the 1st Position, pupil No. 2 at the same moment 
changing the ring from the left to the right hand, and both rings are 
taken hold of by each pupil, as in the following Fig. 32. 

7842 



CALISTHENIC EXERCISES. 



73 



Fig. 32. 

A 




THE MOVEMENTS 



are made perpendicularly up in the direction A, and down in the direc- 
tion B, alternately by the Black and White rings — thus : 



I 


2 


3 


4 


5 


6 


7 


8 


(i) (Black Ring) Up 


Down 


U. 


D. 


U. 


D. 


U. 


D. 


(2) (White Ring) Up 


Down 


u. 


D. 


U. 


D. 


U. 


D. 


(3) (Black Ring) Up 


Down 


u. 


D. 


(W.L)U. 


D. 


u. 


D. 


(4) (Both) Up 


Down 


u. 


D. 


y. 


D. 


u. 


3 rdP 



3rd Position. 

Fig. 33. 
A 
A 




7842 



74 



CAUSTHKNIC EXERCISES. 



Simultaneously with the last count (8) the pupils take one step for- 
ward with the left foot, bringing the Right to its side close enough for the 
toes of the shoes to touch, as represented in Fig. 33. 

The Movements are then made by raising the black and white rings 
up over head as high as possible, in the direction of the arrow point A, 
and recovering position at the side again — thus : 



I 


2 


3 


4 


5 


6 


7 


8 


(1) (B. R.) Up 


Down 


U. 


D. 


U. 


D. 


U. 


D. 


(2) (W. R.) Up 


Down 


U. 


D. 


U. 


D. 


U. 


D. 


(3) (B. R.) Up 


Down 


U. 


D. 


(W.R.)U. 


D. 


u. 


D. 


(4) (Both) Up 


Down 


U. 


D. 


U, 


D. 


u. 


4th Pos. 



In the last (4th) movement the upper edge of the rings are struck 
together at the point A over head. 



4th Position. 



Fig. 34. 
A. 




At the last count of 8 in the 3rd Position, instead of bringing the 
rings down to the sides from the point A, keep the rings over head, 
and turn "back to back," pupil No. 1 turning to the right, and pupil 
No. 2 to the left, underneath the black ring, as the white ring is 
lowered. 

The Movements are then made up to the point A with the black 

.and white rings respectively as follows : 

7842 



CALISTHENIC EXERCISES. 



75 



I 


2 


3 


4 


5 


6 


7 


8 


(i) (B. R.) Up 


Down 


U. 


D. 


U. 


D. 


U. 


D. 


(2) (W.R.) Up 


Down 


U. 


D. 


U. 


D. 


U. 


D. 


(3) (B. R.) Up 


Down 


U. 


D. 


(W.R.)U. 


D. 


u. 


D. 


(4) (Both) Up 


Down 


U. 


D. 


u. 


D. 


u. 


Turn 



At the last count of 8 the pupils turn under the white ring, facing 
each other, then separate and step back into their standing places, and 
execute the concluding March, which is the same as that for the " Foot 
Exercise March," on page 30. When the last figure of Diagram 4 is 
formed,the pupils cross the right arm over the left, take hold of the rings 
of each other with their left' hands, and execute the " Foot Exercise " 
tunes : first with the arms crossed, and down in front of the body, and 
second when the arms are raised over head ; after which the class is dis- 
missed. 

Play Music No. 7 for this Ring Exercise, and No. 4 for the March. 



Calisthenic Exercises with Indian Clubs 

May be executed in a similar manner to those described in this book 
for the Double Dumb-Bells. The music, however, must be played much 
slower, as all " Club Exercises " are difficult of execution, and injurious 
when not properly practiced. They are more adapted for private prac- 
tice by single pupils than for public exhibitions in classes. We there- 
fore omit them from our further consideration, and conclude our " Book 
of Calisthenic Exercises" with the introduction of a few popular "Mu- 
sical Sketches " as pleasing pastimes to the pupils and their Instructor, 
■which we hope they will all appreciate. 



7842 



76 



CALISTHENIC EXERCISES. 



Broom Drill and March. 

Form the class in the same manner as described in this book for 
the practice of the Calisthenic Exercises with Wands. While marching 
the brooms are to be held in the Right hand, with the straw part above 
the shoulder. 

First have the class execute as many of the Marches herein dia- 
grammed as may be thought proper, and at the close of these fancy 
marches perform the regular March to standing places, as described on 
page 7 ; and at the command, all Face Front. 

Second. The class then executes the following commands in reg- 
ular order as printed. They may be performed either with or without 
musical accompaniment. If music is employed with them, count i, 2, 
3, 4, in regular time with the rhythm. When a command is to be exe- 
cuted in one motion the body and its members are completely at rest 
during the counts 2, 3 and 4. If Two motions are employed, they are 
made at 1 and 2, while 3 and 4 are rests. If there are three motions 
to execute a command, then these motions are made at the counts 1, 2 
and 3, while all the members of the body rest at the last count 4. 

COMMANDS. 

L "Order — Brooms!" (Owe Motion.) 

Count 1, 2, 3, 4. At 1, without making any movement of the body 
and its members, let the handles slip through the fingers of the Right 
Hand to the floor, the Brooms being thus held in a perpendicular posi- 
tion. Rest in position at 2, 3, and 4. 

II. " Shoulder — Brooms !" (Three Motions.) 

Count 1, 2, 3, 4 and at 1, promptly seize, with the tips of the fingers 
and thumb of the Left Hand, the handle at a point on a line with the el- 
bow of the Right Arm ! At 2, raise the handle through the fingers of 
the Right Hand until the Knuckles of the Left Hand touch the chin. 
At 3, promptly bring the Left Arm to the Side of the body. Rest at 4. 

III. " Support — Brooms !" {Three Motions.) 

Count 1, 2, 3, 4. At 1, seize the handle with the tips of the fingers 
and thumbs of the Left Hand at a point just above the Right Hand when 
the broom is at a Shoulder. At 2, bring the Right Fore-Arm above the 
Left Hand to a position straight across the breast, with the palm of the 

7842 



CALISTHKNIC EXERCISES. 



77 



Right Hand open and upon the Left Shoulder or a little below it. At 
3, bring the Left Arm down to the side of the body, and at 4, rest, in 
position. 

IV. "Right — Obuque!" (Three Motions.) 

Count 1, 2, 3, 4. At 1, seize the handle of the broom near its end, 
below the Right Arm, with the tips of the fingers and thumb of the 
Left Hand. At 2, bring the Right Fore- Arm, from the position of 
Support ( III) across the Chest in a straight line to the handle and 
seize it with the fingers of the Right Hand. At 3, bring the Left 
Hand (still holding to the broom) to the Left Hip, while the Right 
Hand remains stationary, the broom thus being held directly across 
and in front of the body, in a diagonal line from the Left Hip to the 
Right Shoulder. At 4, rest. 

V. "Left— Oblique !" (Owe Motion.) 

Count 1, 2, 3, 4. Hold the broom with the Right and Left Hands, 
the same as in Right Oblique (IV), and without changing the position 
of the Hands at 1, move the Right Arm and Hand in a straight line 
directly across the Chest to the Left Shoulder, and at the same time 
move the Left Hand across the body to the Right hip, thus reversing 
the diagonal, so that it will be from the Right hip to the Left Shoulder. 
Rest in position at the counts 2, 3 and 4. 

VI. " Present — Brooms !" (One Motion.) 

Count 1, 2, 3, 4. With both hands holding to the handle the same 
as in Left Oblique (V), bring the broom directly in front of the body, 
and extend it at arm's length in a perpendicular position, the Right 
Hand above the Left. Rest at the counts 2, 3 and 4. 

VII. "Reverse — Brooms!" (Two Motions.) 

Count 1, 2, 3, 4, and at 1, from the position of Present Brooms 
(VI), without changing the position of either hand, reverse the broom 
so that the straw part of it will be down towards the floor, and the 
handle pointing perpendicularly upward, the Left Hand above the 
Right. Rest at 2. At 3 reverse back again to the position of Present 
Brooms (VI), and rest at 4, in position. 

VIII. " Carry— Brooms !" (Two Motions.) 

Count 1, 2, 3, 4. At 1, from the position of Reverse Brooms (VII), 
bring the broom down at arm's length in front of the body, horizontal 

7842 



7 8 



CAUSTHENIC EXERCISES. 



and touching the dress. At 2, rest. At 3, change the Right Hand 
from an under-grip of the handle to an over-grip of the same, the Left 
Hand being kept stationary, and then rest at the count 4. 

IX. " Neck— Rest ! " {One Motion.) 
Count 1, 2, 3, 4. At 1, from the position of Carry Brooms (VIII), 
raise the broom up in front of the body and over the head and let the 
handle rest upon the shoulders at the root of the neck, both hands 
clasping the handle tightly. Rest at 2, 3 and 4. 

X. "Charge— Brooms ! " {Three Motions.) 
Count 1, 2, 3, 4. At 1 from position IX bring the broom over the head 
from behind to the position in front as in Carry Brooms (VIII). At 2, 
change the Left Hand from an over-grip to an under-grip of the handle. 
At 3, bring the Right Hand to the hip, the Left Hand at the same 
time holding up the handle on the right side and in front of the body, 
at nearly an angle of 45 degrees. At 4, rest in this position. 

XI. "Au,— Kneel ! " {One Motion.) 

Count 1, 2, 3, 4. With both hands grasping the broom, as in pre- 
vious position (X), drop upon the Right knee without removing the 
Left foot from its position. Rest in this position at the counts 2, 3 and 4. 

XII. "Au Rise ! " {Two Motions.) 

Count 1, 2, 3, 4, and at 1 rise to an erect position upon both feet. 
At 2, Rest, and at 3 bring the Left Hand to the side of the body, the 
Right Hand alone holding the broom at the Shoulder (II), this time 
the broom being reversed, the straw part nearest the floor and the 
handle pointing upward perpendicular. Rest at the count 4. 

XIII. "Au,— Sweep ! " {Three Motions.) 
Count 1, 2, 3, 4. At 1, drop the broom -to the floor, letting the 
handle slip through the fingers of the Right Hand. At 2, seize the 
handle, near the top, with the Left Hand. At 3 and 4 sweep the floor 
in front of the body, from the Right to Left, and back again from Left 
to Right, in regular time with the music. Continue thus to sweep, 
getting faster and faster with the accelerating of the music, until the 
command is given to 

" Mount— Brooms ! " 
when each pupil mounts his or her broom as they would a horse (the 
boys astride, the girls sideways), and all ride off the stage at a steeple- 
chase, helter-skelter galop, and the Curtain Falls. 

7842 



CAUSTHENIC EXERCISES. 



79 



Fan-Drill and March. 

Each pupil has a fancy Japanese Folding Fan, which is held in 
the Right Hand, while marching to the Standing Places, both arms 
hanging loosely and gracefully at the sides of the body. Upon reach- 
ing the Standing Places, at the moment of the command, " Faces 
Front," promptly. Then counting regularly with the rhythm of the 
music, i, 2, 3, 4, 5, 6, 7, 8, execute the following 

MOVEMENTS. 
I. 

1st. Holding the Closed Fan by the tip-end of the handle between 
the fingers and thumb of the Right Hand (the fan ribbon over the 
wrist), swing the fan forward at the odd counts and backwards at the 
even counts. 

2nd. At the odd counts tap the open palm of the Left Hand ex- 
tended in front of the body with the upper side of the fan, and at the 
even counts bring it to a perpendicular position with the Right Hand 
also extended out in front of the body. 

3rd. Tap the right side of the nose with the upper end of the 
fan at the odd counts, and at the even counts resume position of the 
Right Hand at the side of the face. 

4th. Describe seven complete circles in front of the body with the 
fan, it being held by the ribbon around the wrist and allowed to circle 
freely by means of this ribbon from the Right over to the Left at each 
count. At the last count (8) the fan is opened and held in the Right 
Hand. 

II. 

With the Opened Fan held in the Right Hand extended gracefully 
and coquettishly to the right side of the body, the Left Hand at the 
waist, execute the Foot and Leg Calisthenic Exercises, as described on 
pages 26, 27 and 28. 

III. 

With the fan opened, gently fan the face from the Right to the 
Left, holding the fan in the Right Hand, and keeping time with the 
music to the counts 1, 2, 3, 4, 5, 6, 7, 8. At 8, change the fan to the 
Left Hand, and then fan the face forward and back to the counts 1, 2, 
3, 4, 5, 6, 7, 8. At 8, change the fan to Right Hand again and make 

7842 



8o 



CAUSTHENIC EXERCISES. 



four movements; then change to the Left Hand, make four movements. 
g At the last 8, hold the fan with both hands and fan the face directly in 
front, first toward it and then from it, while counting i, 2, 3, 4, 5, 6, 
7, 8. After the last 8, hold the opened fan against the face so that the 
eyes can peep over the top edge of it, while the Foot and Leg Exer- 
cises are repeated a second time. 

IV. 

Hold the elosed fan directly out in front of the body, the Right 
Hand holding the inner wooden side, the Left Hand holding the outer 
wooden side, then make eight movements by opening the fan to the 
right with the Right Hand, while the Left Hand remains stationary 
out in front. Next Bight movements are made with the Left Hand, 
opening the fan to the left, while the Right Hand is stationary in 
front. Then four similar movements with the Right Hand to the 
right, and four with the Left Hand to the left. Finally, make Eight 
movements with both hands, opening and closing the fan directly out in 
front, of the body. Immediately following the last count (8) open the 
fan again with both hands, keep it extended thus in front of the 
body, and then for a third time execute the Foot and Leg Exercises 
as before. 

V. 

Hold the lower parts of the handle of the closed fan with the tip 
ends of the fore-fingers and thumbs of each hand, the fan being thus 
held in a perpendicular position behind the head and extending above 
it. Then make the following movements : 

(1) Open the fan 8 times with the Right Hand to the right, the Left 

remaining stationary. 

(2) Open the fan 8 times with the Left Hand to the left, the Right 

remaining stationary. 
/ \ (4 times to the right with the Right Hand. 
L3; ( 4 times to the left with the Left Hand. 

(4) 8 times with both Right and Left Hands to the right and left, 
simultaneously. 

After the last count (8) with the fan thus opened behind the head 
and extended above it, again execute the Foot and Leg Exercises to 
the Polka Step music, and at the conclusion of the Exercises perform 
any of the preceding Marches, employing the Polka step throughout. 
After which form the semi-circle, as represented by the diagram 4, page 
30, and again execute the Foot and Leg Exercises. Close with Tab- 
leaux of fans held open behind the head, and 

The Curtain falls. 

7842 



CALISTHENIC EXERCISES. 8l 



Imitation Orchestra. 

Each pupil is provided with a light pine ruler or stick, about 
twenty-four inches in length and one inch in thickness, with which 
imitations are made of playing upon the following named instruments ; 

1. Violins. 

2. Clarinets. 

3. Cornets. 

4. Flutes. 

The Violin imitations are made by holding the ruler or stick in 
the Right Hand, between the tips of the thumbs and first two fingers, 
about three inches from the end, in the same manner in which a violin 
bow is correctly held. The Left arm is held extended straight out 
from the shoulder, the Left hand in the position of holding the neck 
of the violin. Then place the edge of the ruler against the inside of 
the elbow of the Left arm thus extended, and move the ruler up until 
the Right hand is in a position even with the Left arm. The ruler is 
thus held at an angle of about 45 degrees. 

The imitation movements of the Violin bow are then made thus : 
Count 1, 2, for J or f time, and bring the ruler down from "heel to 
point" at the 1, and then up again from "point to heel" at 2. For 
-§ or f time count 1, 2, 3, and at 1 bring the ruler half-way down, at 2 
full-way down to the point, and at 3 bring it up from "heel to point" 
again. The imitation tones of the violin are made by singing the syl- 
lable " Lai/' to each note of the piece to be played. Thus the musical 
scale will be bowed and played in f time : 

12345678 
Tone. Lai Lai Lai Lai Lai Lai Lai Lai 
Bow. Down Up Down Up Down Up Down Up 

The imitation Clarinets are held between the tips of the fingers 
of the Right and Left hands (the Right being below the Left), the fingers 
being separated widely apart from each other and worked up and down 
in time with the rhythm of the piece of music to be played. The top 
of the ruler is held lightly against the under part of the lower lip. 
The ruler is thus held in correct position with the thumbs of hoth 
hands against the chest. 

7842 



82 



CALISTHENIC EXERCISES. 



The imitation tones of the clarinets are made by humming with the 
mouth closed firmly. The scale in f time will thus be played by the 
clarinets : 



Tones. Hm m m m m m m m 

Fingers | 

Right I Down Up Down Up Down Up Down Up 
Left I Down Up Down Up Down Up Down 

Hands J 

The imitation Cornets are held in the same manner as the clari- 
nets, but in playing only the fingers of the Right hand are moved in 
time with the music, while the Left hand holds the instrument lightly 
to the lips in a position extended directly out in front of the mouth. 
The tones of the Cornet are imitated by singing the syllable " Too." 
The scale will thus be played by the cornets : 

1 2 3 4 5678 

Tones. Too Too Too Too Too Too Too Too 

Fingers | 

of \ Down Up Down Up Down Up Down Up 

R. Hand ) 

The Flutes are held in the Right and Left hands in the same 
way that the clarinets are held, the Right hand being below the Left, 
and the fingers of both hands are moved up and down in time with the 
music. The upper part of the flute, about three inches from the upper 
end, is held against the lower lip, the lower part being extended to the 
right and held horizontally close to the right side of the face. The 
tones of the flute is imitated by li whistling ," and the scale thus 
played : 

1 2 3 4 5 6 7.8 

wh°stie }whoo Whoo Whoo Whoo Whoo Whoo Whoo Whoo 

Fingers J 

r Hand i Down Up Down Up Down Up Down Up 
and" I Up Down Up Down Up Down Up Down 

L. Hand 

In forming the Imitation Orchestra class, have an equal number 
of pupils for each of the four different kinds of instruments, the 
smaller* pupils to play the Violins, the next in size the Clarinets, the 
next in size the Cornets, and the largest pupils (boys if possible) to 
play the Flutes. 

After the class is thus formed (having previously been thoroughly 
drilled in keeping time in making the movements as described), they 

784 2 



CALISTHENIC EXERCISES. 



83 



march to their standing places, and Face Front. They then make 
imitations of tuning their instruments, by first all sounding the pitch 
of "A" (2nd space), the Violins singing "Lai" the Clarinets humming 
"M-m," the Cornets "Too," and the Flutes "Whoo" (whistling). They 
then sound "E" (3d space), then "A" again, then "D" (1st space be 
low), and lastly, low "Q" (3rd space below). They then play the 
scale in f time in the key of D (2 sharps), all making their appropriate 
imitations, both in tones and fingering of their instruments. After 
which any well-known march, schottische, &c, in f, f, f or f time 
may be played and imitated, closing the concert with some popular 
waltz in f time, which is more difficult to execute, and will therefore 
have to be well practiced before rendered before a cultivated and re- 
fined musical audience. 



Yankee Doodle. 

Introduction. Tuning. 
Violins *fc Flutes. Slow, 




Clarinets & Cornets. 



Pi 



Vivace. 















m 




1 


— ' — i — 1 





1 1 1 1 
■* 3 + ■* 


l"j J J II 






— 


>=* i j 

— J £= 












» * 




-S — * — — — 





7842 



84 YESTERDAY; or, GRANDMA'S DREAM. 



By FRANK L. BRISTOW. 

A pleasing Musical Sketch for % Grandma in Character, with refrains and cho- 
ruses for any number of young or old folks, containing beautiful Calisthenic Exer- 
cises, imitating the turning of the Spinning Wheel of long ago, Churning, Rocking 
the Baby's Cradle, Knitting, Sewing, and playing the old-fashioned game of 

" Peas' porridge hot — 
Peas' porridge cold — 
Peas' porridge in the pot nine days old." 

FIRST VERSE. 

" It was only yesterday that I was a little girl, 
And I lived many a mile from town ; 
When often in my play and singing with the whirl, 
I made the spinning wheel go round!" 

chorus. 

{Humming.) 

"H — m — m! what a merry, merry sound it made, 
With a h — m — m ! as with the spinning wheel I played." 

The music to this piece is tuneful and very easily learned. It is published by 
the John Church Co., 74 West Fourth Street, Cincinnati, Ohio, with full and com- 
plete directions for producing it properly. It has an illustrated title page of Grandma 
in her Rocking Chair, dreaming of the "Olden time long ago." The price of the 
Music complete is 50 cents, and may be ordered from the publishers or any other 
music dealers. 



TO-DAY ; or, GRANDPA'S REVERIE DISTURBED. 

By FRANK L. BRISTOW. 

A Musical Sketch, containing much humorous dramatic action and many pretty 
Calisthenic Exercises. It is a companion to "Yesterday," and may be used in 
connection with that piece, as an appropriate conclusion, or second part, of Amateur 
Concerts. The curtain rises upon Grandpa seated in an easy chair in the front 
center of the stage reading the newspaper of to-day, and making appropriate re- 
marks concerning the "fast times " of the present age. In keeping with these times 
"A Musical Steam Excursion " is introduced, with a Conductor, Engineer, and 
Fireman in costume in charge, and a medley of Nurses, Dudes, Dudines, Telegraph 
and Telephone Operators, Cornetists, Horn-blowers, Chinamen — all accompanied 
by a " Modern Lady Artiste" upon the Piano Forte. 

first verse. 

" In the days of long ago, when I was a little boy, 

"We slowly jogged along, contented, in our way. 

"Times have changed, you know — now the steam we must employ 

" To help along the busy bustle of to-day." 

refrain. 

"Oh, me! Hear the clatter! Oh, me! — what's the matter 
" In the noisy world, I say." 

chorus. 

"Times have changed, you know — now the steam we must employ 
"To help along the busy bustle of To-day." 

The Music, with full directions, is published by the John Church Co., 74 
West Fourth Street, Cincinnati, Ohio, and will be sent, postage paid, upon receipt 
of the price, 40 cents. 

7842 



TO-MORROW; or, THE MUSIC OF THE FUTURl. 8 * 

£y frank l. bristow. 

This Musical Sketch is a companion to the two preceding. "Yesterday," 
"To-Day," and "To-morrow," when rendered according to directions, will 
make a delightful evening's Musical Entertainment, representing, as they do, the 
different scenes, customs, and follies of the past, present, and the supposed Future. 
They can not fail to be appreciated by all lovers of pleasing music. In " To-Mor- 
row," a large sized Staff is painted upon a curtain of white muslin, together with 
the " Musical Scale," in half notes. The faces of the notes are cut out and the 
Singers stand behind this curtain and look through these openings. The Conductor 
stands in front of the curtain and uses a long pointer in designating the notes to be 
sung by those behind. The idea is that, in the Future, the music will sing itself , 
instead of having it sung and played by Mortals, as in the present day. The prin- 
cipal " Motif* in To-morrow is called " Ouch ! " and is very beautifully produced 
by the Artistic Conductor by means of a sharp prod, with his pointer in the face of 
each note. 

This piece of music is in press at present, but will soon be issued with full di- 
rections for public performance, by the John Church Co., No. 74 West Fourth 
Street, to whom orders may be sent prior to its publication. Price, 50 cents. 



THE TEN LITTLE SUNFLOWERS. 

WITH AN ENCORE FOR 

TEN LITTLE WALL-FLOWERS. 

By FRANK L. BRISTOW. 

A group of ten Sunflower blossoms is painted upon white muslin for a back- 
ground, the face of the flower being cut out. Ten little girls stand behind the curtain 
and look through these openings and sing — each a verse — and then successively 
withdraw the face from the opening. 

" Ten little Sunflowers blooming all so fine, 
One of them went to seed and that left NINE ! " 

After the Sunflowers have sung and disappeared, the " Ten Wall-flower Maids " 
may come upon the stage. Each of them is in hunt of a husband with a title of 
Nobility, and all are successful except the last one, who sings as follows : 

TENTH VERSE. 

"One little Wall-flower — all the titles gone — 
She cries herself to death, and that leaves NONE!" 

After which the rich father enters and bestows the paternal benediction upon 
his daughters and sons-in-law, with 

"Bless ye, my Chee-il-dren ! " 
The Encore requires the sons-in-law to be in costume to make it effective. 

FIRST VERSE. 

" Ten little Wall-flowers hunting o'er the Rhine, 
One bags a German Prince, and that left NINE!" 
Published by the John Church Co., 74 West Fourth Street, Cincinnati, Ohio, 
with full directions for production. Price, 40 cents. 

7842 



86 



A Natural Spell. 



By FRANK L. BRISTOW. 

A Humorous Octette, Arranged to Represent a Spelling School Singing: 

"B-A, Ba, K-E-R, Baker. 

R-A, Ra, K-E-R, Raker. 

L-A, La, D-Y, Dy, Lady. 

SHE-A, Sha, D-Y, Dy, Shady,", etc. 

In rendering this " Spelling School" the Eight pupils may be dressed in cos- 
tumes to represent country school children, and the acting of each scholar thus be 
made very ludicrous. The " School Master " may also be introduced to u give out 
the word " before it is spelled by the pupil in proper turn. The last Base pupil 
represents a very "Bad Speller," and is necessarily at the "Foot," and wears a 
Dunce Cap. During the " Musical Recess" (an interlude), time and opportunity is 
given for some good acting, such as Apple Eating, Gum Chewing, and imitation 
Kissing of School Sweethearts, etc. 

The Corrected Edition of this piece is published, with necessary directions, in 
Sheet Music form, by the John Church Co., 74 West Fourth Street, Cincinnati, 
Ohio, the price being 50 cents per copy. 



THE LITTLE WAITERS. 

By FRANK L. BRISTOW. 

A Humorous Musical Sketch, for young or older folks, representing the differ- 
ent Manner of Serving at the Table, by Native, French, Irish, Dutch, and Chinese 
Waiters, accompanied by appropriate Marches and Calisthenic Exercises, with 
Japanese Serving Trays, A Head Waiter introduces the other Waiters upon the 
Stage and directs their movements during the Marches and Calisthenic Exercises. 
In addition to singing the Regular Songs, as written for the " Little Waiters," other 
songs may be interpolated at will to suit the taste of the Musical Director of the 
piece. 

This piece is at present in press, and will soon be issued, with full directions 
for representation, by the John Church Co., 74 West Fourth Street, Cincinnati, 
Ohio. Price, postpaid, 50 cents. 

" BUT " — A Good Song with a Slight Objection. 
" SPILT-MILK "— An Irish Character Song. 

These two excellent and taking pieces by Frank L. Bristow, may be introduced 
appropriately as Interludes between the Marches and Exercises of the " Little 
Waiters." The price of each of them is 35 cents net. 

7842 



THE PLEIADES; or, SEVEN SISTERS. 



«7 



A Cantata of the Stars ; for Young Ladies, with Choruses for any number 

of Little Girls. 
By FRANK L. BRISTOW. 

When sung entire, with appropriate scenery and action, nothing could be 
more beautiful than this charming Sketch to fill out an entire evening's Musical 
Concert Programme. Or it may be " cut," so as to make it suitable for the Second 
Part of a Concert. Mercury — the Messenger of the Gods — is introduced in Cos- 
tume, and he frequently enlivens the piece with his rollicking Song, while the 
Seven Sisters join in the Chorus. 



The Calisthenic Marches of the little girls, in costumes, representing the several 
Months of the different Seasons, are also very beautiful and pleasing. There is 
nothing better suited for the Closing Musical Exercises of a Young Ladies' Sem- 
inary than the "Seven Sisters," as it is wonderfully charming, as well as refining 
and instructive to both singers and audience. 

Published in book form, with full directions for rendition, by the John Church 
Co., 74 West Fourth Street, Cincinnati, Ohio. Sent, postpaid, on receipt of price,, 
35 cents per copy. 

N. B. — Mercury's Song and Chorus, " Twinkle, twinkle," is also published in 
Sheet Music form, and may be sung separately from the Cantata. 



The Cantata of the "Rainbow" has been successfully rendered in many of 
the leading Colleges for Young Ladies in the United States. The necessary scen- 
ery, costumes, etc., are easily obtainable, while the music is light, pleasing, and 
readily learned. Seven young ladies represent the Seven Colored Rays — Red, 
Orange, Green, Blue, Indigo, and Violet — each singing an appropriate solo. The 
three primary colors — Red, Yellow, and Blue — render a charming Trio. Each sec- 
ondary color is introduced by a Duet, while many Choruses are sung by all com- 
bined. The opening scene — representing a passing shower — introduces " Light" 
as the Mother of the Colored Rays. Light's part in the Cantata is all recitation, 
and the poetry is well adapted for the display of first-class elocutionary powers. 

The Rainbow is published in book form by the John Church Co., 74 West 
Fourth Street, Cincinnati, Ohio, and will be sent, post-paid, to any address in the 
United States upon receipt of the price, 50 cents per copy. 

7K42 



"Twinkle, Twinkle, Twinkle, Twinkle 
Little Star, Little Star, Little Star; 
How I wonder, wonder, wonder what you are," etc. 




A Cantata for Eight Young Ladies. 



By FRANK L. BRISTOW. 



88 HEROES !— A MILITARY MARCHING SONG. 

For 4, 8, or 16 Boys. 

By FRANK L. BRISTOW. 

This Sketch is for boys only. They are to be dressed in the Military Costumes 
as illustrated on the title page, representing the four branches of the army — In- 
fantry, Navy, Cavalry, and Artillery. While March No. I is played the boys march 
upon the stage in the following order : Infantry, Marines, Cavalry, and Artillery. 
After marching around the stage they form in line in front of audience and sing 
" Hooray!" introduction to the Infantrymen's Song. They then sing their "Drum 
Imitation," all " marking time," and then march around the stage to the music of 
the Grand March, executing Military or Calisthenic Movements in exact time. 
Marching into line again, they sing " Hooray ! " then the song of the Marines — 
marking time at "Ye-o-e-ho!" Then Grand March, the Song of the Cavalry, 
marking time, and Grand March following — afterwards falling into line, the Artillery 
sing, and all whistle " The Girl I left Behind Me," marking time, all singing their 
several imitations in chorus. After this the heroes either march off the stage, or a 
Color Bearer, with his country's flag, enters, marches to the center of the stage and 
stops. The boys then " Rally 'Round the Flag," forming a circle at equal distances 
from each other, kneel on one knee, present their guns, swords, oars, and rammers, 
as if to protect the flag, thus closing with a beautiful tableau. 

Published by the John Church Co., 74 West Fourth Street, Cincinnati, Ohio. 
Price, 75 cents. Full directions, with music complete, accompanying each piece. 



CHICKY, MY GRAINY CROW ; 

or, 

THE DAYS OF OUR YOUTH. 

A Character Duet for Grandpa and Grandma. 
By FRANK L. BRISTOW. 

DESCRIPTION. — — 

Grandpa, in costume, seated on one side of the stage reading a book. Grandma, 
in costume, on the other side, knitting a stocking. After singing the 1st verse in 
duet, any number of little boys and girls come upon the stage behind grandpa and 
grandma, albsinging " Chicky, my Crainy Crow," holding on to dress skirts and 
coat tails, and then march off the stage. During the singing of the 2nd verse a 1 
little boy comes upon the stage with a Dunce Cap on his head, mounts a high 
stool in the back center, lazily eats an apple and goes to sleep, while grandma and 
grandpa sing "Williamy Trimatoe." During the 3rd verse of the Duet, a very 
fat little boy comes upon the stage, sits down beside the Dunce's stool, and eats a 
large "plum-pudding" from a tin pan, and goes to sleep with the spoon in his 
mouth. While the Chorus to 3rd verse is sung by the old folks a third boy comes 
on the stage, takes apple from the dunce's hand and the remainder of plum-pud- 
ding from the sleeping boy, and he goes to sleep. Grandpa and grandma, while 
singing the last verse, nod sleepily, and when they get to the words, " Little Boy 
Blue come Blow your Horn," they stop singing, go to sleep themselves, while all 
the boys and girls come upon the stage on tip-toe, with tin horns and baby-rattles 
in their hands and sing very softly the Chorus. At the close of the Chorus they 
loudly blow the horns, rattle the rattles, which awakens the old folks, who run off 
the stage with their fingers in their ears, followed by the shouting boys and girls, 
while the " Three Sleepers," snooze on and the curtain falls. Time for rendition 
about fifteen minutes. 

Published, with full directions, by the John Church Co., 74 West Fourth 
Street, Cincinnati, Ohio. Price, 35 cents. 

7842 



A CAPITAL SONG: 



89 



OR, 

Geography, as Taught by Singing in the Days of our Forefathers. 

By FRANK L. BRISTOW. 

This Geography Song is a companion to the "Natural Spell," by the same 
author, and may be sung as an " Encore " with success after the "Spell " has been 
rendered. It is very informing as well as humorous, in that it enables the singers 
to remember the capital of each State and Territory of the United States. It also 
gives the "Nicknames" of the citizens of the several States, as may be seen from 
the following skeleton of its many Choruses : 

" Cin-cin-nati 's Pork-op-o-lis . 
Buckeye — An O-hi-o-an. 
New Yorker 's a Knick-er-bocker . 
Kal-amazoo 's in Mich-i-gan. 
Georgian is a Goober-Grabber. 
Bean-Eater — Bostoni-an. 
Tar-Heels hail from North Car'-lina. 
But Kalamazoo 's in Michigan." 

An Encore to this Song, naming the Presidents and Vice-Presidents of the 
United States, from Washington to the present day, with appropriate side remarks^ 
will soon be issued by the publishers, the John Church Co., 74 West Fourth 
Street, Cincinnati, Ohio. The price of the Capital Song is 50 cents per copy. 



POPULAR COMPOSITIONS 

OF 

FRANK L. BRISTOW. 
PUBLISHED BY THE JOHN CHURCH CO., 74 W. FOURTH ST., CINCINNATI, 0. 

VOCAL. 



Little Dimplechin. . . . Price 35 cts. 

Tell Me True . . . . " 35 " 

Pull de String . . . . " 35 " 

The Dear Old Songs of Home . " 30 " 

Daisy Dell " 3° " 

Cock-a-doo-dle-doo . . . " 3° " 

A Natural Spell . . . . " 50 " 

Twinkle, Twinkle . . . . " 3° " 

Yesterday 5° 

To-Day " 40 " 

To-Morrow " 50 " 

Chicky, My Crainy Crow . . " 35 " 

Heroes 75 

My Sweetheart . . . . " 60 " 

Fairy Little Fay. . . . " 40 " 

Weep Not, Sad Heart. . . " 35 " 

Little John Bottle John . . " 35 " 

O'er the Waters . . . . " 30 " 

Merry Old Maid. . . • " 3° " 

But . . . . * . • " 3° " 

Spilt Milk . . . . • " 35 " 

The Ten Little Sunflowers. . " 5° " 

Song of the Peter Bird . . " 3° " 



INSTRUMENTAL. 



Echoes from Dreamland 


. Price 70 cts, 


Home, Sweet Home 


. 11 70 " 


Tambourina Waltz 


. " 60 " 


Dip Waltz .... 


. " 40 " 


Pomposo .... 


. " 40 " 


La Pirouette. 


. " 40 " 


Whirligig .... 


. " 40 " 


Last Love Mazurka 


. " 40 " 


Murmuring Sea Shells. 


. " 40 " 


Merriment Mazurka 


• " 35 " 


Octave Schottische 


• " 35 " 


Valse Fantastique. 


. " 3° " 


Pit-a-pat Polka . 


. " 30 " 


Cacique Grand March . 


. . " 3° " 


Little Pet Polka . 


. " 30 " 



CANTATAS. 

The Rainbow .... 
The Pleiades or Seven Sisters 

BOOKS. 

Calisthenic Exercises, Marches, etc. 



All of the above compositions are especially suited for Concert and Exhibition 
purposes and have been successfully produced before the public by the author dur- 
ing his many years of teaching in schools and colleges m all parts of the United 
States, and are therefore recommended to Teachers who desire pleasing as well as 
good teaching pieces for their pupils. 

784 2 



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No. 1. March to "Standing Places. 



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INDEX 



A Capital Song .". 89 

A Natural Spell 86 

Broom Drill 76 

Calisthenic Exercises with Rings ..... 70 

Chicky, My Crainy Crow 88 

Combined Dumb-bell Exercises No. 5. 

1st Position 51 

2nd " 51 

3rd « 51 

4th " 52 

March 53 

Cross (Diagram No. 3) 14 

Double Dumb-bell Exercise No. I. 

1st Position (Fig. 7) 40 

2nd » (Fig. 8) 41 

3rd " (Fig. 9)..... 41 

4th " (Fig. 10) 42 

March (Diagram) 43 

Double Dumb-bell Exercise No. 2. 

1st Position 43 

2nd " 44 

3rd » 44 

4th » 44 

March 45 

Double Dumb-bell Exercise No. 3. 

1st Position (Fig. 11) 45 

2nd " (Fig. 12) 45. 

3rd " (Fig. 13) 47 

4th « (Fig. 14) 47 

March 48 

Double -Dumb-bell Exercise No. 4. 

1st Position 48 

2nd « (Fig. 15) 49 

3rd " (Fig. 16) 50 

4th 50 

March 50 

Dream Not in the Light of Day (Song) 20 



Page 



Exercises with Words (Fig. 19) 57 

" " (Fig. 20) 58 

" (Fig. 21) 59 

"Faces Front" (Music) 11 

"Faces Left" (Music) 10 

" Faces Right " (Music) 12 

Fan Drill and March 79 

Finger Exercise 9 

Finger Exercise March , 12 

Foot and Leg Exercise 26 

Fore-arm Exercise 18 

Fore-arm Exercise March (Diagram) . . 19 

Formation of Class (Diagram) 6 

Foot Exercise 27 

Foot and Leg Exercise March (Dia- 
gram) 30 

Foot Exercises (Music No. 3) ....... . 93 

Fourth Series of Movements 33 

Full Arm Exercises 20 

" " " . March (Diagram) . . 21 
Graeco-Roman Positions and Double 
Bell Exercises Combined. 

1st Position 53 

1st " (Fig. 17) 54 

1st " (Fig. 18) 55 

2nd " 55 

3rd f< $6 

4th " 56 

March 57 

Hand and Wrist Exercises 16 

" " " March 18 

Head and Shoulder Exercise 22 

Heroes 88 

Indian Club Exercises 75 

Imitation Orchestra 81 

Leg Exercise 28 

March to Standing Places (Diagram) . . 7 

(105) 



INDEX. 



106 

Page 



March to Standing Places (Music No. i) 90 

" No. 4 96 

" No. 5 100 

" No. 6 102 

" No. 7 103 

Music for Finger Exercise (No. 2) 91 

" 1 — 2 — 3 March " (Music). . .■ 11 

"1 — 2—3 — 4 March " (Music) 11 

Order of Free Hand Exercises 8 

Order of Movements (1st Series) 10 

Popular Compositions of the Author. . . 89 

Preliminary Exercises 8 

Pretty Peter Pimpernel (Song) : . 22 

Quick March 102 

Rings 70 

Ring Exercises No. 1 71 

Ring Exercises No. 2 Combined. 

1st Position (Music) 71 

( Fi g- 3i) 72 

2nd Position 72 

(Figs. 32 and 33) 73 

3rd Position 73 

4th Position (Fig. 34) 74 

Second Series of Movements 32 

Shoulder Exercises 24 

Shoulder Exercises March (Diagram) . . 25 
Single Dumb-bell Exercise. 

1st Position (Fig. 3) 34 

2nd " (Fig. 4) r 35 

3rd « (Fig. 5) 36 

4 th « (Fig. 6) 37 

March (Diagram) 38 

Spiral (Diagram No. 6) 15 



Page 



Standing Places (Diagram) 5 

Third Series of Movements 33 

To-day, or Grandpa's Reverie 84 

The Little Waiters 86 

The Pleiades (Cantata) 87 

The Rainbow (Cantata) 87 

The Ten Little Sunflowers. 85 

To-morrow, or the Music of the Future 85 

Twenty Froggies (Song) 17 

Twinkle, Twinkle (Music) 92 

Uniform for Boys and Young Men 

(Fig. 2) 32 

Uniform for Young Ladies (Fig. i)..'. . 31 
Wand Exercise No. 1. 

1st Position (Fig. 22) , 60 

2nd " (Fig. 23) 61 

3rd " (Fig. 24) 61 

4th « (Fig. 25) 62 

March (Diagram) 63 

Wand Exercise No. 2. 

1st, 2nd and 3rd Position (Fig. 26) 64 

4th Position (Fig. 27) 65 

March .6 

Wand Exercise No. 3. 

1st Position 66 

(Fig. 28) 67 

3d Position (Fig. 29) 68 

4th " (Fig. 30) 69 

March 70 

When Good Humor Flies Away (Song) 26 

Yankee Doodle (Music) 83 

Yesterday, or Grandma's Dream 84 



THE LEA 




010 072 414 5 }L WORKS. 



For Singing Schools and Con- 
ventions. 


Instruction Books. 


• 1 

1 


THE EMPIRE OF SONS, 

By Geo. F. Root. 


$0.60 


NEW MUSICAL CURRICULUM, 

For Piano— By Gee. F. Root. 


$2.75 


PYRAMID OF SONG. 

By Root & Case. 


.60 


MODEL ORGAN METHOD. 

By Geo. F. iMot. 


2.25 


CASE'S CHORUS COLLECTION, 

By C. C. Case. 


.75 


F. W. ROOT'S NEW COURSE, 

For Male oi Female Voice. 


1.50 j 


THE CHORUS KING, - - - 

By H. R. Palmer. 


.75 


LEBERT & STARK SCHOOL, each, 

For Piano— Pan 1 . Pari 2. Part 3. 


2.00 


TEMPLE OF SONG, (Shaped Notes,) 

By A. J. Showalter. 


.60 


Collections of Music. 





For Day Schools and Institutes. 

THE REPERTOIRE, - - $1.00 

By Geo. F. Root. 

INTERNATIONAL DAY-SCHOOL SINGER. .50 

By Murray & Pontius. 

FIRST YEARS IN SONG-LAND. - .50 

By Geo. F. Root. 

JUVENILE CLASS AND CONCERT, .30 

By McGranahan & Lafferty. 

CALISTHENIC EXERCISES, .50 

By F. h. Bristow. 

Cantatas and Oratorios. 

THE MESSIAH, - - - - $0.75 

Bv G. F. Handel. 

DAVID. THE SHEPHERD BOY, .75 

By Butterworth & Root. 

JEPHTHAH AND HIS DAUGHTER, .75 

By P. G. Hull. 

THE PILLAR OF FIRE, - - .30 

By Butterworth & Root. 

KING RUDENESS, .30 

By J. R. Murray. 

FAITH TRIUMPHANT, .75 

By Butterworth <fc Root. 

For Churches and Choirs. 
THE j'EW CHOIR & CONGREGATION, $2.00 

By Geo F. Root. 

PRACTICAL ANTHEMS, each volume 1 .00 
in Three Volumes. 

ANTHEM JEWELS, .35 

By H. P. Danks. 

For All Instruments. 

INSTRUCTORS FOR ALL INSTRUMENTS. 

send for Complete Descriptive Catalogue. 



MODERN CLASSICS. , - - - $1.00 j 

For Piano— Medium Difficulty . 

MODERN SOPRANO SONGS, - - LOO j 

By the Best Composers. 

YOUNG PIANIST'S GUIDE, - 1.25 I 

L. ieo. Schneider. 

MODERN VOCAL DUETS, - l.oo 

Choiccrt of their kind. 

FIFTY SONGS FOR BASS VOICE, - 1.00 

A Superb Collection. 



Theoretical Works 

NORMAL MUSICAL HAND-BOOK, - #3.00 

By Geo. F. Root. 

PALMER'S THEORY 0? MUSIC, 3.00 

By H. R. Palmer. 

TRUE MUSICAL DICTIONARY, .25 

A valuable little work. 

MUSICAL ANALYSIS, - - 2.00 

By A. J. Goodrich. 

For Sabbath Schools and 
Revivals, 

ROYAL PRAISE, - " - ' $0.35 

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GOSPEL HYMNS NO. 5, - a5 

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